Psychological illness can be induced or worsened through powerful suggestion and belief, even when no physical cause exists. In the story 'Death is a Doll' from Box 13, a man named Bart Lefay believes he is dying from witchcraft despite having no physical illness. The investigation reveals that the 'witchcraft' was actually a human-made doll placed in his window, which served as a psychological trigger. The man's belief in the supernatural threat caused his actual deterioration, demonstrating that the mind's power to create illness can be as real as physical disease. This illustrates how suggestion and belief can manifest as genuine psychological and physical symptoms.
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ＴＨＥ ＳＬＥＥＰＬＥＳＳ ＳＴＡＴＥＳ | 6 stories • 6 radio programs • 6 sleepless statesAñadido:
Step into the night and welcome back to RadioWave Nostalgia. Tonight's special broadcast is called The Sleepless States, a late night journey across America through six different states and six different oldtime radio programs.
Each story unfolding somewhere beneath the glow of radios in the quiet hours after midnight. From the neon streets of Los Angeles to the rain soaked roads of Boston. From the rolling hills of Kentucky to the cold mountain overlooks of Denver, and finally through the foggy Appalachian nights of Virginia and the lonely bayou of Louisiana.
Tonight, we'll cross America from coast to coast through the sleepless corners of the 1940s and 1950s.
Along the way, we'll hear Let George do it, Boston Blackie, Damon Renan Theater, yours truly, Johnny Dollar, Dangerous Assignment, and Box 13. And tonight, our journey begins in California.
Somewhere along a rainy Los Angeles Boulevard after midnight, a quiet cocktail bar still glows beneath the neon lights, while only a bartender and a couple late night customers remain awake.
Outside, rain falls across the wet streets and flickering signs of the city as the radio softly plays tonight's first story from Let George Do It.
attack. You're it.
>> Greetings, mystery lover. Have another helping of homicide on the half shell.
Our let George do it adventure is a real killer to coin a phrase which I didn't.
Anyway, it's called tag you're it, which believe me has nothing to do with Junior trying to catch the little girl next door.
On the contrary, it deals with an afficious master of ceremonies of an audience participation program.
Now, this fellow was an eager little beaver who got along on poking fun at people until one day someone took a poke at him. Then even George Valentine couldn't help him.
Well, here's a lady with a letter. Yes, sir. She's got one right here in her purse.
>> I made that and give it back.
>> No, no, no, lady. Wait a minute. There's your letter now. What's the matter?
Don't you want me to read it? Oh, you wrote this. That's it. You wrote it and haven't mailed it. You're probably mad at the postman. He only rang once.
Uh-oh. Ladies, listen to this. Listen, my dear Mr. Valentine. Valentine.
>> Mr. Murphy, would you please?
>> Now, don't blush, lady. Don't blush. If our radio audience can only see her, I said, not me. But madam, if I'm brave enough to wear your scarf over my head, it's really a good fit. Don't you think?
Don't you think it is? Over the face.
What you say? It's not a fit. IT'S A CONVULSION.
OH, YOU'RE real cute. Listen, how about your husband, madam? Huh? You suppose he's listening? I'll bet he doesn't know about this, Mr. Valentine. Ladies, isn't that a romantic name for you? Valentine.
I'll bet your husband's out buying a gun right now. He's got a rival. But you remember our bargain now, lady, on this program. You dared me to wear your scarf so I can read anything I find in your purse. SHALL I READ IT, LADIES?
>> ALL RIGHT. THAT'S RIGHT. All right, ladies. Here goes now. Dear Mr. Valentine, I've got to see YOU ABOUT A TELEPHONE CALL. A TELEPHONE CALL? HUH?
WELL, let's make her let's make her do the call right here from the studio, shall we? All right, ladies. But here's the rest of the letter. Listen. I've got to see you because I'm not sure, but I think somebody is trying to murder me.
murder. Trying to murder >> Mr. McMra. All I wanted to tell you was that it isn't my letter. It's not my purse. A large woman. She got up and left in a hurry. She must have taken mine. It's her letter.
>> Mrs. Oscar Pettyman, 432 West 16th Street.
You are listening to Let George Do It.
Our adventure will continue in just a moment.
Now, back to Let George Do It and George Valentine.
All right. All right. I'm coming.
What do you want?
>> Mrs. Oscar Pettyman. This is 43.
>> Ain't here.
>> You her husband friend? Mr. Pettyman.
>> He's in Chicago. Can't stand her. Leaves every chance he can get. Anel Pettyman's my name. Her brother-in-law. I bored here.
>> Well, Mr. Ped.
>> Yes. The police phone me, miss. doesn't know. I don't know anything.
>> You hung up on him.
>> Well, why not? Bunch of pests.
Anybody tries to kill Birdie, it wouldn't hurt anybody. Why should they care?
>> Well, you're a nice guy.
>> Puzzles, contest, prizes. Yeah. You ought to see what she looks like.
>> Well, what do you mean?
>> Birdie's as big as a horse. My dear sister-in-law.
So, she started to write you a letter.
Think somebody's trying to kill her. All right. What's all the fuss? Let him.
>> Yeah, there's a time wasting confession.
>> Now, wait a minute. I'll answer that. I asked somebody to call me here.
>> Valentine's speaking.
>> Hal McMerry. Mr. Valentine. Now, listen.
>> Did you find her?
>> There are cops all over the studio. I I want you to understand though that I didn't know who you were when I read that letter.
>> Did you find her?
>> No, not exactly. Not yet. But believe me, we're turning the place upside down.
Now, not that game I play on my program.
>> Give me that phone. Give it to me. Well, look, I want to explain.
>> Hey, what's going on? What's going on with Merry?
>> Uh, this is H Homeman speaking. FJ Holman.
>> What? Who? What?
>> Uh, well, I'm I'm the studio manager, Mr. Valentine. And as I told the police, we'll do everything possible. I've warned Big Merry before about that silly game he plays with those women. They were wearing their scarves and then trying to embarrass them by prying into their purses.
>> Well, they love it. You know, they love it.
>> Be quiet. Be quiet.
>> I I just wanted you to understand, Mr. Valentine.
>> Yeah, sure, Mr. Holman. Sure. Nobody's going to sue anybody. Skip it.
>> But but you can ask Anel there. He's been our janitor here at the radio station. You know, >> he's what? No, I didn't know what he >> That birdie Pattern, she's the sort of a person any number of people might want to kill. She's she's a pest. Do you understand? A pest. A professional radio contestant who's forever snooping around here. And sooner or later, she'll be back. You see, that's what I mean. You don't need to worry. She's an unpleasant woman and lots of people I'll tell it to McMerry. I'm busy.
>> But your characters work at that place.
>> Including you, huh? Of >> course. 20 years, never a day sick. How else do you think my sister-in-law get all the broadcast tickets I get them for? Keeps her away out of my brother's hair.
>> Look, I just want facts. Never mind the double talk like that Pullman gives out because he's scared his radio station will get involved.
>> Hello from Tag. You're it. You're wealthy.
>> What? letter she started said something about a phone call, didn't it?
>> That's right. When the police asked you about >> to remember only a phone call I know anything about happened yesterday when I was home for lunch. Birdie stepped out to look up something for a newspaper contest. Boy says hello from tag. You're it. You're wealthy. What?
>> I'm not fooling. That's the kind of crazy stuff goes on around here. No greeting, no nothing. I remember every word. If you look in your mail today, you'll find you're a winner. We hope you enjoy your award.
>> And that's all. Look in your mail. Hope you enjoy your award. It happens all the time. She don't do anything for a living except that. Puzzles, contest, coupons are always ringing up, delivering things. You ought to see her stuff.
She's got five vacuum cleaners in this house and she doesn't use a one of them.
>> What was in it? The mail. Uh, what was the award that they >> search me, friend? I wasn't here. I work for a living.
>> Okay. Okay. Hey, uh, Brooksie, phone Riley. Get him to check the mailman. I >> sure do.
>> So, uh, so you don't like your sister-in-law, huh? Nobody seems to >> doesn't do anything.
>> I know. I know. Yeah. Nut on contests.
Well, sometimes I like contests myself, but I suppose it's a little different if that's all she does.
>> Always trying to get some bigger nugget.
>> Well, that's not the point. The idea is she was worried. Wrote to me.
>> It is the point. How worried could Birdie be if she went galvating off to a radio studio to have fun before she mailed your letter?
>> Well, I'll grant you that it's >> I don't take it seriously because neither did she. Murder. Yes. It's just another idea to waste time with. Yes, me she's not some place now. Forget all about it.
>> Wait a minute. Now tell me what kind of a voice was that on the phone? That uh tag you're it. Man or woman?
>> Man, I guess I don't know. At Lisk >> it. What?
>> Lisk like this soft voice. You can barely hear it.
>> Lieutenant Riley. Well, this is Terry Brook.
>> Oh, wait a minute. Here. Let me have an engine.
>> Hello, Riley.
>> Listen, Valentine. We haven't found that pettyman game yet, but we just put out a bigger alarm on it because >> Look, now wait a minute. A quick angle.
Her husband's out of town. See, he doesn't like it. Yesterday, she got a phone call and later on some kind of package in the mail. Wait, wait. Are you trying to accuse my brother?
>> I really got in touch with her husband.
He's in Chicago. He's got nothing to do with it.
>> Oh, Riley. Everybody seems to think this is just a false alarm. She's just some kind of a crackpot. All right, maybe so.
But if there's one chance in 50 of our preventing A REAL MURDER, >> WAIT, WILL YOU? It's already happened.
>> Huh?
>> I'm busy. I told you with a blonde. And I don't mean Mrs. Pettyman. The exact opposite. Beautiful, young, real diamond.
>> Riley, for the love of >> my boys will keep on helping you look for Mrs. Pettyman. All right, but don't bother me. This one's a real case, my friend. This blonde. See? And the only clue I've got to go on is a note in her purse which says, "Tag you're it. You're wealthy." Ah, she's wealthy. All right, she's dead.
How long ago did the doctor say, Lieutenant?
>> Oh, it happened the first thing this morning. The traffic officer found her body in a car packed up an alley.
>> Girl was shot, huh?
>> Yeah, that's right. Nobody would have noticed it for hours. The best place in the world. Right in the middle of town.
An alley in commercial district. But oh brother, how you get a connection between Mrs. Pettyman and something like this?
>> Maybe a daughter or Ali.
>> This girl certainly lived in a fancy apartment house.
>> That's what I mean. What was she doing in the commercial district? 38 to the left, I guess. What's she doing with a note in her purse that says the same thing as >> Yeah, there we are.
>> Darthy Chver, huh?
>> I got the house made. You can never stop crying.
>> Oh, Lieutenant, she was such a lovely person. Such a lovely person.
>> She really did do all right. No one hated her.
>> Yeah, you can say that again.
>> No one. I can't understand it.
>> I'll bet the ballheaded guy in that photograph.
He was alone. I think so. Well, so lovely.
>> Yeah. J. So you said, "Well, now take hold of yourself." See, >> she's done so well. She's >> I'm sorry, lady. I'm sorry. But here here, take a look at this.
>> Tag, you're it. You're wealthy.
>> Yeah, that's right. We found this note in mischiev's purse. Now, the handwriting doesn't check with the signature on a driver's license.
>> Of course not. It's mine. I wrote it.
>> Oh, well then you better start drying your eyes, lady. And explain what in the name of >> I wrote that note for her so she'd remember. That's all. After the phone call.
>> The phone call? Oh, no. No. Not the same.
>> Go on. Please go on.
>> Well, I There was this phone call first thing after breakfast. I was in to clean up. A voice says, "Tag, you're it.
You're wealthy." What else?
>> Well, an address. I took the message from Miss Chief.
>> An address of what?
>> I'm trying to tell you. It said she should drive a car and park a car in that alley. It It's the back entrance of Benson's first store.
>> Hey, wait a minute. Wait a minute. Sure it is. And it's the most expensive place in town.
>> Yeah, sure. Go on.
>> The voice says she's picked for a chance at a mink coat. You know, one of them giveaways or something. I guess they take your name from a phone book. Well, of course she went right away. Wouldn't you, miss? A chance at a real mink coat, huh? Free just cuz you're lucky and your name's been picked for for >> Hey, tell me what kind of a voice was it?
>> It is. It was Hello from Tag. You're it.
You're wealthy. Soft like that. Miss Dorothy Cha has been selected for a chance at Some crackpot. Some absolute nut.
>> Sergeant, get hold of whoever runs that program and the radio stations.
>> You haven't heard the worst of it, Riley.
>> Go ahead. Tell them, Brooksie. Tell them what kind of a case he's got. What kind of a connection there is between Mrs. Pedimeman and this?
>> Well, we already did call the radio stations, Lieutenant. The newspaper contest editors, all of them.
>> There isn't any such thing as tag.
You're it. You're welcome. They've never even heard of it.
>> Oh, brother. Well, that does it. You mean Mrs. Pettyman will turn up dead, too. Huh? And anybody who's tagged will jump for it, just like the poor girl here did.
Oh, my friends, we're up against a phony giveaway. Somebody just calling people up and giving away debt.
You are listening to Let George Do It.
Our adventure will continue in just a moment.
And now back to George Valentine.
Yes. Tag you're it. You're wealthy. And the lisping voice on the telephone really means that you've been selected for death. A fictitious giveaway, a contest, and you're the winner. At least that's what happened to Miss Dorothy Chver. She went to collect on a chance at a mink and was shot. And earlier, a message came from Mrs. Oscar Pettyman promising a prize in the mail. No sooner had she written her fear to you and she disappeared. Well, if your name is George Valentine, you'll have to agree with Lieutenant Riley, as back at the radio station, he puts it so mildly.
>> An absolute madman is calling up everybody, taking anybody's name from the phone book, and we'll never find Mrs. Pettyman. She'll probably walk into something just like the blonde did, >> like everybody else.
>> Mr. has been >> will just stay in your wherever you are.
>> So it wouldn't happen again.
>> It's from this way someplace >> here. Come on in here.
>> All right, whoever you are, put up your hands.
>> Hey. Hey. What goes on?
>> Who are you? You were whispering just a second ago.
>> Why don't you ring the bell or not?
>> Lost.
>> Stand still, I said.
>> All right, I'll take it easy. I didn't do anything here.
>> Hello from tag. You're it. You're >> see just a gadget. I like gadgets. I hate the work. Oh, I'm Russell. Johnny Russell, night engineer.
>> That was a record, you mean?
>> Where'd you get it? The telephone. I'm too lazy to answer. I'm out of the room for a minute. Telephone rings, goes on the tape. Listen.
>> Hello from KAG. You're it. You're wealthy, Mr. Russell. You have won. Your name has been selected. If you will just stay in your office wherever you are, your prize will come to you. We wish you happiness as a winner in our contest.
See, came on my telephone a few minutes ago, I guess. Mr. Valentine, I stepped out for a second. Tape machine rig picked it up.
So, I'm tapped. So, it's me.
>> Don't you have any idea who it could be?
>> Look, detective, I'm a lazy guy. I don't like all women and dogs, but I don't want anybody wants to kill me for. So, uh, just hand me my coat there, friend.
I'm on my way. Uh, tell a boss and Mc Murphy.
>> Oh, no. No, you don't. Wait a minute.
>> Ouch.
>> Hey, let go. There we are. Smiling. The boy dropped dead. You don't think I'm going to stick around here, do you?
>> We'll find out what happens. I'll stay right with you, pal.
>> And wait for my prize to come, huh? Not that curious. I'm going to put as many miles between me and this place.
>> Then you get a bodyguard. Sergeant.
>> All the same by me.
>> Oh, janitor. Get the s.
>> Stay here, Angel. Well, Mc Merry, huh?
>> Holy smoke. It could be me next or you or just anybody.
>> Oh, no, it couldn't. See, it's quite a place Russell has here, isn't it? All these gadgets, pinups, hot plate for coffee, and this uh this picture.
>> George, >> huh? The blonde.
>> Yeah, Dorothy Chver. Russell ran around with her once in a while.
>> Yeah, it all starts to tie together. Not the way I figured, but >> Well, she she used to work here, you know.
>> Oh, no, we didn't.
>> Well, if you could call it that. She's not the working type, if you know what I mean. I took her out once or twice myself. She's too rich for my blood.
>> Just what do you mean?
>> Well, don't misunderstand, but but you know, ambitious. She wouldn't turn down that Doozenberg if you offered it to her out for the best she could get, you know. But that certainly wasn't Johnny here.
>> No, no. She liked men with more money.
Like uh FJH.
>> What church?
>> Initials on the picture of the other guy. Baldheaded one back at her place, remember? Well, I wanted to see if FJ Hullman is bald.
>> Hey, now look here, friend. The boss is all right. Sure, he dated Dorothy. So what? It's him. Sure, but there's no love triangle. Hey, George.
>> Yeah, hold it. Come on.
Busman's holiday, my friend, in a radio station. What do they listen to? Other radio station?
>> Don't you understand? We found her. My sister-in-law. Birdie's all right. She ain't even halfway dead. Listen to her.
>> Well, I don't see anything to laugh at.
>> WELL, I DON'T. I answered the question right, little I >> back to the microphone, please, Mr. Speaker.
>> Oh, excuse me, but I'm going to get a prize, ain't I? I mean, oh my goodness, I'm so embarrassed.
>> Yeah, told you what she's like. Might have known it. Ran out in McMurray's program this afternoon cuz she remembered she had tickets to this one.
She was just telling them over there.
>> Well, we'll have her under protection, too, Valentine.
>> Told the audience her cat was sick.
They'd laugh. Don't blame them. piece of candy birdie got in the mail yesterday.
>> What? Huh?
>> What is all this? I'm so confused.
>> Well, apparently Mrs. Pettyman got a box of candy. That's what the package in the mail was yesterday. The award the Lisper Center.
>> But anyway, she's out of danger now.
Like Russell is.
>> Hey, Riley.
>> Take a look at Johnny Russell.
>> What? Hey, I can't move.
>> My arm. I I can't move.
>> Get him to the hospital. Come on, lift them. Come on, step on it.
>> Fast as we can, sir.
>> George's coat. That's what it was. He said, "Ouch." When he put it on, remember?
>> Let me see that.
>> Yeah. You see that needle there hooked in the lining? You put on your coat, you get a scratch that you don't even notice. Oh, brother. How fast you have to work in this three- ring circus to keep people alive.
Mr. Mr. Hman's not in his office, Mr. Valentine.
>> Oh, well, never mind. Uh, where are you going, Anson?
>> I work for a living. What do you think?
Instruction box says sweep studio B.
Well, janitors are paid.
>> All right. All right, >> George. I don't understand.
>> Well, take them one at a time, Brooksie.
Mrs. Pettyman got her call first in some kind of murder attempt through the mail.
Candy or whatever it was. The whole case got thrown in the open fast because her letter was read right out on the air for everybody to hear. But in the meantime, Dorothy Chver had got her call and had been killed. Then Johnny Russell. You see, Angel of Murder was working against time, making mistakes because it was really going too fast for him, too.
>> George, they're tied together, though. I I mean, the blonde.
>> Well, they've all been around here in the studio. Sure. The blonde, Johnny Russell, even Mrs. Pettyman. Always snooping around trying to get free broadcast tickets. Remember >> who's going to be next? I mean, what's the pattern? A killer like that doesn't stop. It just >> What's the matter, Anel?
>> I just happen to think Studio B isn't being used tonight. It's a spare down in the basement with the reserve switchboard.
>> Why?
>> Yeah.
>> Uh supposed to sweep it out for a broadcast. You said >> the note told me to do it was in the instruction box. Just a type note. Only now it's not there.
>> Anel. You're the janitor. You see everything that goes on around here.
Logically, you'd be the next person that >> Hey, Brooksie, get Riley back here. I'm going to be the next person.
>> What?
>> Yeah. Stay up here, Anel. I'll take a look at studio B for you.
Record storage, music library, phone books. Ah, here we are.
It's pretty good size studio. What?
All right. Come on now. Turn them on.
Turn the lights on. Come on now. There's a master board around here someplace.
>> What's the matter? Can't you see?
>> Look, it's too late to play games, friend. Put your lip back in shape.
>> Where am I? Yes. Where am I? You can't tell in the dark, can you? Where am I?
>> Oh, now look for the love of Music stands set up for an orchestra.
Did you hurt yourself?
>> Not half as much as you're going to be, friend. Come on. Come on. Tell me. I know where you are. You haven't moved, so you're still somewhere by the big control switchboard.
>> Mr. Valent, >> look now. I won't hurt you. Yeah, I'm on your side.
In fact, I'm almost Hey, let go of that guard. Get away from those switches.
The wrong switch, Mr. Valentine.
>> Oh, what a mad. No, no, you don't. Get away.
>> I'll get the lights. Get over there.
And I still have the gun.
>> Well, well, well. Hello, Anel.
You couldn't shoot me in the dark, could you?
>> You guessed who I was.
>> It wasn't a guess, Buster. You made a mistake. Let's skip that part of it. I'm on your side. Forget it. Of course you're on my side. But I was fired. You guessed that.
>> Fired. 20 years of service. Pullman said I should rest. But I work for a living.
I I'm not like the others.
>> Yeah, I know.
>> The girl who was out for everything she could get without working for it. Johnny Russell, he's that type, too. And Birdie, always looking for a free prize someplace.
>> Stop looking past my shoulder. I'm not going to turn around.
The workers and I work and I get [ __ ] >> Are you going to kill Hullman too? The boss?
>> Lots of people I'm going to kill.
Parasites who toil not.
>> Sure.
>> Upstairs. You pulled that gag to get me down here.
>> It was going too fast for you, wasn't it? Holman was out and you had to have time for him.
>> You understand, don't you? You're in the way.
>> Now look, Anel, you know this is all in your imagination. Those people you tried to kill are all right. Homeman's all right. I know too much, but I'm not so bad either. Shut up. Why don't you lisp like you did in the phone calls? That was your mistake. You know, >> I don't make mistakes.
>> You're the first one who told me about the lisp. And you pretended you'd taken the first call from that voice. You said you remembered every word. Hello from tag. You're rich. You're wealthy. If you look in the mail today, you'll find you're a winner. We hope you enjoy your award.
Friend, in that entire message, there's not a single S for anybody to LISP ON.
FOR THE LAST TIME, LOOK AT ME NOW. AND LOOK AT THE GUN. YOU CAN'T FOOL ME.
There's no one behind me. I locked that door when I followed you in here. WHAT DIFFERENCE DOES IT MAKE? WHAT? I SAY I WORKED. I'VE WORKED ALL MY LIFE. EVERY PENNY I'VE MADE, I'VE MADE BECAUSE I WORKED.
>> OH, SURE. THAT'S RIGHT, FRIEND. This is A RADIO.
>> I'M GOING TO KILL YOU AND NO ONE WILL EVER KNOW THAT IT WAS >> No one's ever going to know what.
>> Let me tell you just one thing, mister.
It's just what I've been staring at. One of those switches we hit.
>> Maybe lots of people will know about you, friend.
>> Mr. Valent.
>> Now you listen to me. Now, I don't know what it means. You could tell me. But right behind you back there over the door, there's a big red sign that's all lit up.
>> Yeah. Look at it in great big red letters. It says on the air.
>> What? No. No. This studio sucker.
Back to the conclusion of our Let George Do It adventure in just a moment.
was strange. Mr. Holman told you that he'd saved enough money he didn't need the job.
>> I wouldn't try to explain him.
>> Of course, I never paid much attention to him.
>> We know you were busy all the time doing well doing >> well doing what Anel didn't like.
>> I beg your pardon. There's nothing wrong with contest, is there? With a bit of skill and a bit of luck.
>> Oh, no, no. We just >> You can't tell me there's anything to any of those ideas he had. A mad man like that. A man who'd kill people who try to >> No, no, no, no. I I'd like puzzles myself. You You're perfectly right. Now, there's no excuse for him. He's locked up where he should have been long ago.
>> Well, I just wonder, that's all because you see, I just heard about another contest. They're going to give away the most beautiful prizes. And it ain't really getting something for nothing either, cuz it's a mystery quiz. And I thought if you give me some help, Mr. See, this is where we came in. Good night, Birdie. We're going to a movie.
>> Yes, George. To the Tivoli.
>> Why the Tivoli?
>> You're giving away a set of dishes.
>> Oh.
>> The rain continues falling across Los Angeles as the neon lights slowly disappear behind us, leaving the crowded boulevards of California behind.
Tonight's journey now moves east toward the quiet Appalachian nights of Virginia, where distant train tracks, dark forests, and old Civil War history weighed beneath the storm. And now from dangerous assignment, missing Civil War map.
>> Yeah, danger is my assignment. I get sent to a lot of places I can't even pronounce. They all spell the same thing, though. Trouble. When I walk into the commissioner's office, I don't realize this assignment is going to involve a worthless scrap of paper, which almost turns out to be my own death warrant.
>> Morning, Commissioner >> Steve. I suppose I pulled you right out of a big deal as usual.
>> No, matter of fact, it was all very innocent this time, Commissioner. I was out getting some new furniture for my apartment.
>> You were what?
>> Sure. I just bought a coffee table with a lazy Susan. Really?
>> Well, on second thought, Susan wasn't so lazy after all.
>> That's what I thought.
>> Well, Commissioner, I've finally gotten the jump on you.
>> How's that?
>> You're always calling me in here and sending me off into the wild blue yonder. So, this time I'm ready for you.
I'm all packed up and I've got my passport in my pocket. Now, what wild and woolly spot are you sending me to this time?
>> Richmond, Virginia.
>> What?
>> You heard me, sir. Richmond, Virginia.
>> Great. That's what I get for trying to be a mastermind. Okay, so I unpacked.
>> I wouldn't do that just yet, Steve. You start in Richmond. Where you end up is anybody's guess.
>> What's the deal?
>> Ecman's in this country.
>> Ecman? Hasn't anybody done the world a favor by knocking him off yet?
>> Steve, you know as much about Ecman as I do. He's part-time foreign agent, part-time international information pedler. He's smooth and tough and he's been in our hair for longer than I care to remember.
>> What's he doing in the United States?
>> Can you think of any reason why Ecman would steal an old Civil War map?
>> Civil War map? Are you kidding?
>> We know Ecman went to Virginia. We also know he managed to crash a fancy dress ball given by a colonel kur others there. After the ball, this map was missing from the wall of the colonel study.
>> But I still don't see how a Civil War map could be important enough.
>> Neither do I. That's why you're going to Richmond. Now, Steve, get down there.
Talk to Colonel Kurthers. Then go anywhere and do anything you have to to get to the bottom of this whole deal.
Well, that's it. You've got your assignment. Good luck.
You're listening to Dangerous Assignment, starring Brian Don Levy in the role of Steve Mitchell. Colorful two-fisted government agent at all those places of the world where danger and intrigue walk hand in hand. There you will find Steve Mitchell on another dangerous assignment.
Well, I've had a lot of screw ball assignments in my time, but this one takes the cake. A Civil War map yet. I suppose the next thing I'll find out is that I'm up against a plot to blow up Chesapeake Bay. It's Wednesday. When I get to Richmond, I head for Colonel Kurther's mansion.
>> We're delighted and honored to make your acquaintance, Mr. Mitchell, sir.
Although I must confess I'm a little puzzled as to why they should send a man from Washington to investigate such a minor theft.
But then the things they do in Washington have puzzled me for quite a spell. Now >> we're interested in the case primarily because of the man who apparently stole the map. Colonel Kurthers. As for the map itself, >> the document is of historical value only. Sir, as you see, my my study here is filled with relics of the Great War.
War between the states. That is.
>> Yeah. And the map had no value other than as a relic. Huh?
>> None whatsoever. No, sir. No, it had to do with the Battle of Fredericksburg, December 1862.
>> Uhhuh. Decisive victory for the South, I might add. As a matter of fact, it was merely a a a rough sketch, but it was actually used by the Confederate army.
That gives it value to a collector.
>> Uh, do you know this man, Ecman? Colonel >> Ecman. Yeah, the one who swiped the map.
>> The scoundrel passed himself off to me as a clayman by an old southern name.
>> Oh, he claimed to be writing a book on the Battle of Fredericksburg.
Matter of fact, I remember thinking at the time it was rather strange.
>> What was?
>> Well, at least you'd be writing a book on the Battle of Fredericksburg when one was just Polish less than once. One in which my relics and my research appear quite prominently. But to get back to this Clayburn or Ecman. Yeah. Well, he wanted to browse through my books and my relics. I was quite preoccupied at the time. I was making preparation for a fancy dress ball. So, I gave him permission. And it was after the ball was over that I discovered that the map was missing.
>> Mhm.
>> And the man with it.
>> I see.
>> However, now if you would care to see what that map looked like, there's a picture of it in this book. I spoke of the one that was published last month.
That's the one in which my relics and my research appear. I I happen to have a copy of that right here. Uh the picture of the map is on page 263 approximately. Uh let's see.
Ooh, see sir, just just in passing, here's a picture of the very sword used by Jeb Stewart himself in the charge of the battle. Very interesting. But the map, Colonel, please.
>> I'm coming to the map. Now, here here's a picture of a of a genuine mini ball here.
>> Mini mini >> kind of used to shoot out a cannon.
>> Colonel the map. Uh, >> now here's here's a >> somebody else really. Yeah. Now, here we are. Yeah. Here we are. The map.
>> Mhm.
>> Yeah. Mhm.
>> You were right when you said it was just a rough sketch. I don't get it. Why would a foreign agent like Ecman steal a map like this? That's the mystery of it, sir.
>> Of course, we're not completely sure it was Ecman who stole it. Uh, Colonel, these guests you were entertaining at the time.
>> Sir, if you were trying to imply that the people I invited into my home are of the caliber that would stoop to common sense.
>> I'm not trying to imply anything, Colonel. I'm just H uh What's this scroll in the lower right hand corner here?
>> I see you, sir.
>> Mhm.
>> Thank you. Oh. Oh, yes. Well, that that is the signature of the man who made the map, a Frenchman named Cartier.
He fought for the South during the Great War. Great friend of my daddies. As a matter of fact, it was Cartier's great grandson, Bill Carter, who gave me this map.
>> Bill Carter. Comes from a fine old Richmond family.
>> Carter. Cardier. Carter.
>> Yeah. Well, family changed the name around a little. I I I suspect Bill was chugging me up a little with the gift of that map. So the young blade could ask for my granddaughter Juliana's hand in marriage.
>> I see. Well, thanks for the information, Colonel. I'll see you later.
>> I leave Colonel Kar's house still as much in the dark as when I came. Why Ecman would steal a map 90 years old is a way beyond me. But there must be a reason. I've got to find out what it is.
Which means that first I've got to find Ecman. So I start checking. 3 hours and 25 bucks later, I find a cab driver who remembers taking a man answering Ecman's description to the colonel's house last night, waiting for him a few minutes, and then taking him to a hotel in Richmond. I try the hotel, but Ecman's just checked out. The clerk remembers, however, hearing him inquire about the sailing time of a ship named the Southern Empress from Norfolk. I get there just as the ship is hauling in a gang plank, but I may get aboard the last second and head for the bridge and the captain.
>> No, Mitchell, there's no Clayburn on my passenger list. And no Ecman either.
>> That doesn't surprise me. Captain Ecman used the name of Clayburn in Richmond, and he could be using another name now.
>> You sure he's on this ship?
>> Pretty sure.
>> Well, you've written down his description for me. I'll pass it along to the rest of my officers.
>> Okay, I'll nose around the ship and spread the word among the stewards.
>> I think that would be your best chance.
>> Incidentally, where are we heading?
>> Lisbon, Portugal.
>> Lisbon.
>> Does that make sense to you? This man, Ecman, I mean, is that where you figured he'd be heading?
>> Lisbon, Coney Island. What's the difference does it make right now?
Nothing about this deal makes sense.
Well, I'll check with you later.
I nose around the ship all day, but I don't spot Ecman. None of the stewards I talked to remember noticing him either.
By now, I'm beginning to wonder if he's even on the ship. This is going to look just great in an official report. Steve Mitchell, government agent, on a wild goose chase across the Atlantic after a Civil War map. Well, towards evening, I head for the bar. Then I spot the girl.
When I first noticed her, she's three stools away. The next time I look, she's two stools away. Then all of a sudden, she's right beside me.
>> Howdy.
>> Hello. I always feel a girl shouldn't sit in a bar alone. Doesn't look right.
>> Oh, well, now you're not alone.
>> You probably think it's real brazen of me to talk to a man I don't know.
>> Well, they tell me life on board ship is pretty informal, Miss >> Beside. My first name Zoe. Uh, Steve Mitchell.
>> Now, isn't that one?
>> That one?
>> I just knew your name would be Steve.
No, ask me how. I just knew.
>> Well, you're a one up on me there. I didn't just know your name would be Zoe.
>> You enjoying the boat ride, Stephen?
>> Oh, not particularly. How about you?
Sounds like this is the farthest you've ever been away from the Mason Dixon line.
>> Oh, now you're just poking fun at me, Stevie. I think I have myself a mighty fine boat ride. Sure enough, I can manage to make me some friends. Poor little helpless girl like me, she needs friends wherever she is. I tell you for sure.
>> You don't look very helpless to me. The way you've been downing those straight shots.
>> Oh, those are just to give me some courage, Ste. I'm naturally such a shy little old person.
>> Uh, yeah, I can see that. Uh, you on a vacation, Zoe?
>> Uh-huh.
>> How'd you happen to pick Lisbon?
>> Now, isn't that woman? I couldn't in all the world tell you where I did. I just stuck a pin in a map and it said Lisbon.
>> I see. You know, this life aboard the boat, it's all so new to me. Sometimes I wish I'd stayed right at home. Body gets to feeling so helpless.
>> So, now we're back on that helpless routine.
>> Oh, but I really am, Stevie. Why? You wouldn't believe it. But I can't even get that little old door on my stateateroom lock. 35B. That is that lock just won't seem to work. Isn't that awful?
>> Uh, well, >> a matter of fact, I think I ought to go try it again. I just know I won't be able to make it work, right? Maybe soon the lady I'll find me some nice person who can help me. I don't doubt it.
>> I'll see you later.
>> You never can tell.
>> Well, that's quite a number, friend.
>> H I say the little lady, she's quite a looker, isn't she?
>> Well, she's looking all right.
>> Uh Cullie is the name, friend. John J.
Cully.
>> Mitchell's mine. How are you?
>> Oh, well, I've had a little bout with my stomach right after we put to sea. But feeling much better now. See, this is my first boat trip. I've ridden every railroad in the United States in my time, but never out on the bridey. Yes.
It's quite an experience, is it? You travel a lot.
>> Oh, yes. Yes. Sure do. Sure do. Here's my card, Fred.
>> John J. Cully, Acme Button Company.
Well, you sell buttons.
>> Well, I don't give them away.
>> Oh, >> yes. I figure I've sold an average of 2/3 a button to every man, woman, and child of the United States.
>> Quite a record. But what good's 2/3 a button?
>> I'll say you're mighty quick on the uptake then.
>> Yeah, I'm a card.
>> You ought to be shuffled and cut. Oh, >> fine.
You know, you and I speak the same language, friend.
>> Thanks.
>> Yes, I've sold buttons in every state there is. Now, I'm going over to do the same thing in Europe.
>> The zipper doesn't have you scared, huh?
>> Well, sir, that used to be a dirty word to me. But the way I've got it figured out now is this is a big world, friend.
There's room in it for the zipper and the button.
>> Well, that's reassuring. You know, our president said to me not a week ago, he called me into his office. He did plunk me down in a chair and then old sh says sh that's our president says to me, JJ, uh that's >> that's you, >> right? Yes. Says to me, go out JJ, go out and button up the world.
>> It's a great thought, isn't it?
>> Oh, inspiring.
>> I beg your pardon, Mr. Mitchell.
>> Oh, uh, Captain, excuse me, Mr. Collie.
>> Oh, yeah. Sure thing, Fred.
>> Uh, keep them flying.
>> You mean keep them button? Uh, what is it, Kevin?
>> You know that particular passenger you're looking for?
>> Ecman.
>> There's a man in 31B who answers the general description, but his name is Petty Bone.
>> H. Thanks, Kevin. I'll pay him a little visit.
>> 31B.
>> Wow. Stevie.
>> Wow. Miss Magnolia Blossom, I thought your estate was 35B.
>> Oh, it is. But I always feel that a person belongs to get acquainted with the neighbors. And when Mr. Petty Bone was kind enough to ask me to step in for a teeny little old drink.
>> Where is Mr. Petty Bone?
>> He just stepped out for a minute. I'll be right back.
>> You said you were just on a vacation, didn't you, Zoe?
>> I sure enough did.
>> You're sure that's all there is to it?
You don't happen to be interested in any Civil War relics, do you?
>> You mean the War Between States? Well, I'm sure I know what you're talking about, Steve.
Oh, here bone man.
>> Hold it.
>> Let go of this.
>> You're not Eggman.
>> OF COURSE, UNCLE EGGMAN. OF COURSE, I'M NOT EGGMAN. I'm Mr. Petty Bone. If you please, if you're a private detective, YOU CAN TELL MY WIFE THAT >> private detective wife. Oh, great. Thank you. And good evening, Mr. Petty Bone.
I go back on deck and I realize I'm getting nowhere fast. The old feeling that this whole thing is some kind of a gag starts gnawing away at me again.
Then the captain sends word to me that the mate has spotted another passenger who answers Ecman's description. A man in 42B. So I head below again. Probably another wild goose chase, but I've got to follow it up. I knock. No answer.
Door's unlocked. I go inside. State room's dark. And I catch a whiff of a heavy Swedish smell. I flick on the lights. The room is all torn up. Then I hear a sound behind me. I start to wh around, but too late. Something hard connects over my right ear and I hit the deck.
When I come out of it, I know I've finally found Ecman, but I still don't know why he swiped the Civil War map.
He's very, very dead.
Any idea who killed Ecman Mitchell?
>> Not at all, Captain. It was probably the same person who hit me over the head when I walked into Ecman's stateateroom.
>> Whoever it was couldn't have gotten very far from Ecman's room.
>> What do you mean?
>> Well, I came down the passageway just about a minute after you went into the state room. There was no one in sight.
>> Let's see. Who are some of the passengers whose stateaterooms are near Ecman's on B deck? Well, Leman State Room was 42B. There's a Miss Foresight in 35B.
>> Yeah, the Southern Fried Chicken >> and a Mr. Petty Bone in 31B.
>> Yeah, I've already met Mr. Petty Bone, too.
>> I believe that most of the rest of the passengers from that area were up on deck when it happened.
>> Well, so now I'm worse off than ever before. Now I don't know who's got the map.
>> I wouldn't say that.
>> What do you mean, Captain?
>> You have the map.
>> I have the Now look, take a look in this envelope.
>> Hey, the map. Where did you get it, Captain?
>> The maid told me this Emanuel had asked him to lock up the envelope in the ship safe. So, I thought I'd better see what was in it.
>> Yeah, it looks like the picture of it that I saw in that book that Colonel Carry this place back in the States.
>> What's so important about it, Mitchell?
That's the point. It's just a rough sketch drawn by a guy named Cardier almost 90 years ago. So, now I've got it. But I still don't know what the deal is all about. Wait, did you lock up Ecman's stateateroom after we left?
>> Yes, I also posted a guard there. Good.
I'd like to examine his papers. I'll meet you there in 10 minutes. First, I want to have a talk with the bell of the South.
>> Well, I say >> hello, Zoe.
>> Now, I just bet you finally came to see if you could help me fix that little old lock on my double.
>> Well, not exactly.
>> Oh, >> Zoe, the last time I saw you, you were in Mr. Petty Bone's bedroom. How long did you stay there after I left?
>> Only a minute, Stephen. Mr. Petty Bony was quite disturbed about your visit. He seemed to think you were a nasty old private detective or something like that. I told him I wouldn't pay you. No, never mind. Why do you ask?
>> Uh because not long ago, a man was killed just a few stateaterooms away.
>> Oh, me? The things that can happen on a boat.
>> Yeah, the things that can happen on a boat. I suppose you wouldn't be knowing anything about it.
>> Well, Stevie, whatever do you mean? I uh h >> What's the matter?
>> Nothing. Got a cigarette, Zoe?
>> What? What? No, Sugs. I'm all out.
>> I see.
>> Where are you going?
>> I'll see you later, Zoe.
>> I do declare you aren't the strangest man I ever did.
I leave Zoe's stateoom, go up on deck for a smoke. Now I know the trail is heating up. I caught a whiff of the same aroma in Zoe's room that I'd noticed in Ecman's room. And now I've got the smell pegged. It's Turkish tobacco. So, at this point, it looks like Zoe's tied up in the deal. But before I do anything about her, I've got to find out what the deal is. I head for Ecman Stateroom to meet the captain on the way I pass the bar. Cully the button king flashes me a big grin and waves me to come over, but I've got no desire to talk buttons at this moment, so I keep walking. The captain and I go over all of Ecman's papers carefully, and finally, I find something. What is it, Mitchell?
>> A letter, Captain Written by a guy named Carelli in Lisbon. An address to Ecman.
It refers to certain interests who are willing to pay for proof.
>> Proof of what?
>> It doesn't say. It also mentions an Orortig family in Lisbon and says they're willing to add a big bundle of money, too. H.
>> You think that the Civil War map is somehow connected with all of this?
>> I think it is. It could be the proof this Carelli talks about in that letter.
But proof of what? I don't even have a glimmer right now. When do we talk in Lisbon?
>> Tomorrow morning. You know, I got a hunch that shortly after we dock, this Carelli is going to receive a visit from Ecman's partner.
>> But Ecman's dead.
>> I know. That's why his partner has to carry on with the deal.
>> But do you know who this partner is?
>> Yeah.
>> Who?
>> Me.
>> Yes.
>> Really?
>> Who are you? A friend of Ecman's.
>> Oh, come in. When did your boat die?
>> 20 minutes ago.
>> Where is Ecman?
>> Somebody caught up with him. He's dead.
>> Dead? But the map?
>> Don't worry about the map. It's a good thing He-Man and I both were working together on this deal.
>> You have the map? Give it to me.
>> Not so fast, Carelli. I've been thinking. I'm not sure the dough is enough.
>> What? But it was all agreed. The interests who wish the map are willing to pay $10,000 American. And the Ortig family is willing to add another 10,000.
>> Maybe the map is worth more than that.
>> I would strongly advise you not to try and bargain with them. They are getting restless as it is. Any further delay might ruin the entire transaction.
>> Okay, I'll call you in a couple of hours, Carelli.
>> Very well. And if you do not have them up for me by then, I would not be surprised if the parties I represent have something for you.
>> Something for me? What do you mean?
>> A bullet.
>> So now I've made the contact, but I still don't know why the map's so valuable. But I do know I can't stall Carelli very long. I've got to get a line on the Ortig family and how they figure in the deal. So, I head for the American Embassy.
>> The Ortig family? Well, sure. They've been a thorn in our side for quite a while, Mitchell. At least Mrs. Ortig has. What about them?
>> That's just what I'd like to know, Woods. What about them?
>> Well, Mrs. Ortig owns some land in the Middle East with a chromite mine on it.
You know, the stuff that's used in steel manufacturing.
>> Yeah.
>> She's leased the mine to the interests on the other side of the fence. We'd like the lease because we need all the chromite we can get. Her husband's willing to go along with us, but she says no soap, and it's her land, so there we are.
>> How'd this Mrs. Orte get the land in the first place?
>> We've got a pretty big file on it. She inherited the land from her grandfather.
He was the only living relative of his uncle. There had been a son, but he was lost at sea on the way to America. So, the upshot is old man Cartier leaves the land to his nephew, who in turn leaves it to his granddaughter, Mrs. Ortig. And >> wait a minute. Did you say Cartier?
>> Yeah, Mrs. Ortig's maiden name. Why does the name ring a bell?
>> A fire alarm. Let me check those files.
I think this whole deal just fell into place.
I go through the files and 10 minutes later, I've got the answer. I go out and get into my car and as I'm pouring away from the curb, I smell a very familiar aroma. The same Turkish tobacco I'd noticed in Ecman's room at the time of his murder and later in Zoe's room. But before I can turn my head around, there's a gun barrel pressing against the back of my neck. Well, hello Zoe. I can't say I'm too surprised to find you in my back seat.
>> I'm afraid you've got the wrong party, friend.
>> Cully?
>> Yes. Just call me JJ. Now, keep your eyes straight ahead, friend.
>> So, the world's leading button salesman turns out to be the big boy in this deal.
>> Right you are, friend. Now, there's only one thing more I have to button up.
>> What's that?
>> You. And I can do that very nicely with just one slug.
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This is driving straight ahead, friend.
And remember, I'm sitting right behind you with a gun. Okay, Cully.
>> Now, reach in your pocket real gentle. I can pull out that map and hand it over.
>> You know, it took me quite a while to find out why that map was so valuable to Mrs. Ortig and the outfit she's leasing that Middle East mining land to. The map proves that she doesn't own the land.
>> Quite an important little piece of paper, isn't it, friend?
>> It sure is. Old man Carter owned the land years ago, and he thought his son was lost at sea on the way to America.
So, he left the land to his nephew, who in turn passed it on to Mrs. Artig. But actually, that son wasn't lost at sea.
He got to America and among other things, he drew a map with his signature on it. He's got some direct descendants in Richmond, Virginia, who are the rightful owners of the mining land.
>> Sure. That's why certain people who are anxious to keep the lease don't want the map floating around. Now, come on, hand it over.
>> It was you who knocked off Ecman and the boat, huh?
>> Barely increasing the profits, friend.
Originally, it was going to be a three-way split. Carill, Ecman, and myself. But I figured JJ, >> that's you, >> right? JJ. I said to myself, why a three-way split?
>> So, you knocked off Ecman to make it a two-way split.
>> I'm a jump ahead of you, friend. I just took care of Carelli, too. Now, it's a one-way split.
>> You're a real go-getter, aren't you?
>> That I am.
>> Well, that explains the smell of Turkish tobacco. You just killed Ecman and knocked me on the head when you heard the captain coming down the passageway.
You had to duck into another stateateroom, and you picked Zoe's. She was with Petty Bone at the time, and that's why I smelled the smoke in her room later.
>> Look, friend, stalling isn't going to do you any good. Now just trot off the map and give it to me.
>> Okay, I guess I haven't got any choice.
I got it here in my pocket.
>> Hey, why did you speed up?
>> I'm sorry. My foot slip.
>> Well, unslip it. Mitchell, that park car ahead of us.
>> I see it.
>> You're heading right for it.
>> That's the point, JJ.
>> You can't shoot when you're draped over the front seat. JJ, >> let go of me. Let go of the gun.
>> No, I That's better, >> Mitchell. Maybe Maybe we can make a deal. Sorry. The deck just got stacked against you, Cully. And a little matter of murder charge staring you in the face. And I'm sure when the Carters back in the States find that they own the mining land, they'll be happy to turn the lease over to our government. You had it all figured out, Cully. But I guess you forgot that fine old southern proverb.
>> What are you talking about?
>> A man who poses as a button salesman sometime ends up getting clipped right on the article of the same name.
The stormy hills of Virginia slowly fade into the darkness as tonight's journey carries us farther west across America.
The forests and old railway towns give way to open highways, colder air, and the distant glow of Denver beneath the rocky mountains.
Somewhere high above the city, a lone traveler sits inside a parked car, listening quietly to the radio as yours truly, Johnny Dollars.
The Denver dispersal matter >> from Hollywood. It's time now for Johnny Dollar.
>> Perry Jameson, the Paramount Insurance Adjuster. Johnny.
>> Hi, Perry. It's been a long time. I've begun to think you're neglecting me. Oh, how you talk. Matter of fact, I've just been waiting for a nasty enough case to come along for you.
>> Yeah, you do have a habit of handing me the dirty ones. What is it this time?
>> Poor state out in Denver.
>> Oh, yeah. I've heard of them.
>> Well, they're small outfit. By contract, all their claims are rooted through us.
Damage, appraisals, payment, dispersals, and so on.
>> So, what's happened?
>> Well, we've had to pay a lot of claims for them recently. Too many. What's more, they've all been big ones and on fairly young policies. Well, Perry, you know as well as I do that things will average out in the long run unless something's wrong.
>> 60,000 on one policy, 35,000 on another, 70,000, and a cool 150,000 on one just last week.
>> Shoot.
>> And the beneficiary in each case has been the same man.
>> Then no wonder you just leave the door open, Perry. I'll be right over.
Bob Bailey in the exciting adventures of the man with the action-packed expense account. America's fabulous freelance insurance investigator.
>> Yours truly, >> Johnny Dollar Expense account submitted by special investigator Johnny Dollar. The Paramount Insurance Adjusters home office, Hartford, Connecticut. Following is an account of expenses incurred during my investigation of the Denver dispersal matter.
Expense account item 1,110 for the cab that took me over to Perry Jameson's office at Paramont. True to form, the door was wide open for me.
>> I kind of thought this thing might get you down here in a hurry, Johnny. Sit down.
>> Yeah, thanks. and I took the liberty of calling TWWA and getting you a seat on the plane to Denver.
>> Good idea. When?
>> Well, there's one leaving New York at 6:00 p.m. Okay.
>> And I'll get you into Denver about old 10:30 Mountain time.
>> Uhhuh.
>> Think you can make it?
>> Sure.
>> Charge your expenses to us. That's the deal we have with Four States.
>> And the man to see out there, it's almost a oneman outfit. His name is William Whitney.
>> Got it. Now, >> look, Perry, I've been thinking on the way over here. Woo! Wonders we'll never cease.
>> Thanks, pal. But how well do you know this man, Whitney? Well, maybe he's in cahoots with this big beneficiary. This Don Ricardo, >> that his name?
>> Yeah, >> such things have happened.
>> No, no, Johnny, you're wrong. Poor old Willie Whitney's a mild, timid milk toast. His wife, an ex-course girl who probably thought he had money and you can be sure she's the one who wears the pants in the family. Willie would cringe at the thought of hurting a fly.
>> Well, it was an idea.
>> I don't blame you. But no, forget it.
What makes you so sure something's wrong? Well, I didn't say I was, but 215,000 to one beneficiary in a period of only 3 months. Well, I just want to be sure it's okay. And I called you in because I am willing to pay to make sure.
>> No, don't worry, Perry. You will.
Expense account two $141 even. Plane fair incidentals Hartford to New York to Denver. Originally Indian country, the Mile High City is now a maze of oil refineries, steel companies, grain mills, chemical and manufacturing plants. A huge downtown shopping area and beautiful treeed residential sections. No wonder it's one of the big insurance centers. Item three, $2 even for a cab in a town where I park myself at the world famous Brown Palace Hotel.
Item four, 10 cents, phone call to an old newspaper pal from back east who is now working on the Denver Post.
>> Pete Backard.
>> Johnny Dollar. Pete Packard. Okay.
What's the story? And >> Johnny Tyler. Hey, how are you, Keith?
>> Great. Great.
>> You going to be here long? We got to get together. Where are you staying?
>> Palace.
>> Look, you want I should dig up a couple of dates? We'll go out on the town.
Remember the last time we tied one on together?
>> Are you kidding? I had such a headache the next morning. It hasn't left me yet.
Hey, listen.
>> I get away from the desk at 2 a.m.
>> No, you look Huh?
>> I'm out here on a job. Insurance investigation. Did you ever hear of a man named Don Ricardo?
You you know Don Ricardo?
>> No. What do you know about him?
>> Well, they say. Now, mind you, I I don't know for sure, G, but don't forget I did a hit on the Chicago Sun Times a few years back.
>> What's that got to do with Don Ricardo?
>> It was back in the days of the Capone mob.
>> A >> and Don Ricardo. Well, mind you, nobody was ever able to pin anything on him.
>> Yeah, I see what you mean. Where does he live, Pete?
>> Oh, 20, 30 miles east. the other side of Golden, a little place called Milville.
>> Now, now mind you, Ke I I I don't want to really say anything against him. I I mean, if I don't seem to be really telling you anything about him, >> Pete, I think you've told me plenty.
>> Well, now listen, Ke.
>> Thanks. And I'll be talking to you.
>> It was late and I was tired, but I went downstairs to the cocktail bar and with the help of a big fat tip for a night cap, got some more lowdown on Don Ricardo. The bartender talked plenty.
Yeah, it seems Aardo was living the life of Riley in the little town of Millville. Lovely home, expensive cars, threw a lot of big gaudy parties, and always for people from out of town, mostly Chicago or Miami Beach. Yeah, the bartender talked plenty until he spotted a lean, well-dressed, rather too well-dressed man sitting alone at one of the tables watching him. A man who'd somehow forgotten to take off the light gray hat that shaded his features and slightly narrowed eyes. The bartender clammed up. I paid for my drink, that's item five, and was conscious of being watched closely as I casually soldered out and took the elevator out to my room.
First thing in the morning, I looked up the address of four state. Instead of the striking new mile high center, as I'd expected, it was a dingy old office building on South Broadway. William Whitney looked a little old and dingy himself.
>> Johnny Dollar special investigator.
>> That's right, Mr. Whitney.
>> Oh, well, sit down, won't you?
>> All right. Thanks.
>> Just here on a visit.
>> Uh, I'm here because the insurance adjusters are concerned about some recent claims they've had to pay on policies issued by you.
>> We've been very unfortunate lately, Mr. Dollar?
>> Yeah. $215,000.
Unfortunate on only four policies.
>> Yes. And all came to the same beneficiary by some odd coincidence.
>> You sure it was coincidence?
>> Who were the policy holders? Quite some old miners living over near Golden.
>> Old miners insuring for those amounts.
>> Yes, sir. They were all able to pay the premiums.
>> Give me their names.
>> Yes, sir.
>> Unless I'm cockeyed, there's something wrong with this whole thing, and I intend to find out what it is.
>> The policies were issued in good faith and the premiums paid. But I agree with you, sir, and I'm terribly concerned.
I'm glad you're here, sir. It'll not only save the company a lot of money, but it'll take a great load off my mind.
Here's the list. Yeah. Do you know the beneficiary? This Don Ricardo?
>> Only through seeing him when I've given him the checks.
>> Barno, Mulligan, R. Smith, and J. Smith.
Did any of these insured have families?
>> Well, I don't know. You see, the beneficiary in each case.
>> Yeah, I know. Better let me see those policies.
Wouldn't he left me alone while I plowed through his files? Satisfied at least that the policies themselves were okay, I finally left him. inhaled a taxi and told the driver to head for the town of Golden. As we pulled away from the curb, a small black foreign car in the next block swung around and appeared to follow us. And I wondered, but then it cut off at an intersection and I decided I was imagining things until we pulled up at one of the addresses Whitney had given me in Golden, a ramshackle unpainted old frame house on the edge of town. I told the driver to wait for me and walk up to the front door.
It looks to me like that house is empty, mister.
You sure you give me the right address?
>> Yeah, this is the address. All right, but I guess the Huh?
>> Hey, that door opened by itself.
>> I don't know.
Hello.
Hello.
Anybody? Oh, MR. Act two of yours truly, Johnny Dollar in a moment. Our flag now numbers 50 stars.
And behind each star, there stands yet another flag representing one of the 50 states. Vermont state flag in its early form imitated our national flag, uniquely bearing 17 stripes and 17 stars with only the inscribed word Vermont to distinguish it. The good people of Vermont assumed, as did our national government, that stripes as well as stars would be added as each new state entered the Union. Vermont entered the Union after Tennessee and Ohio, and with Kentucky to join shortly, the Verters naturally put 17 stripes on their flag.
In 1818, the United States Congress put a stop to this, and since then, the stripes have always been at 13, and only stars are added for each new state.
Vermont's present flag captures the famous beauty of the Green Mountain State in its coat of arms and inscribed is the phrase Vermont, freedom and unity.
Vermont state flag, the flag of the 14th state to enter the Union was adopted on April 26th, 1923.
And now, act two of yours truly, Johnny Dollar and the Denver dispersal matter.
The old house at the edge of Golden, Colorado looked empty, but I knocked anyway.
>> You sure you give me the right address, mister?
>> Yeah, driver, this is the address. All right, but I guess that Huh?
>> Hey, that door opened by itself.
>> I don't know.
Hello.
Hello.
Anybody?
Mister, go back. Get away from this open door.
>> But your but you hurt your your neck.
You're bleeding to death. Stay down.
Barely nicked me. I'm all right.
>> Holy cow. I I thought you was a goner.
Here, let me help you.
>> You will need help if you don't stay out of his line of fire.
>> Well, who was it? You see anybody?
>> Hey, listen. Yeah, that's a car going away from the back. Get a look at it.
>> Well, I can't can't tell. That dusty side road back there looks like a little one, though.
>> Fine car. Too far away now. I can't tell. But it's black.
>> All right. Come on. We're getting back into your cab.
>> Yeah. Yeah. I'll get you to a doctor.
>> No. No. I'm okay. You know where Milville is?
>> Sure. A few miles east. It's an old money.
>> Come on. Do you know where Don Ricardo lives?
>> For sure. I You You want to go there?
>> Does he own a small black foreign car?
>> Yeah. Real expensive job. I' I've seen him in town. But Mr. >> Come on, because I'll lay odds. He's the one who fired those shots.
Uh, you mind if I drop you off a few blocks away from his place?
The camp driver relented. Dropped me off at Ricardo's front door, then hi Taylor for other parts. It was a nice home, very modern, seemingly out of place in what had once been a prosperous mining center, but was now a little more than a ghost town.
>> Yes, >> Mr. Ricardo.
>> That's right. Who are you? I think you know, but I'll tell you anyhow. I'm Johnny Dollar, insurance investigator.
>> Oh, come in, Mr. Dollar.
We can sit in the den. Would uh would you like a drink?
>> No, thanks.
>> What happened to your neck there? It's been bleeding.
>> Oh, we'll get to that later.
>> I've been rather expecting someone like you to call in view of my good fortune and insurance money lately. Uh, sit down. You sure you wouldn't like a drink?
>> Tell me one thing.
>> Yes. Who paid the premiums on those four policies that netted you a couple of hundred grand?
>> Why, the policy holders, of course. At least to the best of my knowledge.
>> Poor old broken down miners.
>> They were still quite active, Mr. Dollar. Hoping to find a new vein in some of the old workings in this region.
>> Then maybe you grubstake them, huh?
>> Well, as a matter of fact, I did. And they promised me a share of whatever they might find. In return, they named me in their insurance policy.
>> Oh, you must have given them plenty.
More than a worked out mind could ever heal.
>> What do you mean? to afford the premiums on those hefty policies.
>> Now look, Dollar, it was all perfectly legal on the up and up.
>> How old were they? Barno.
>> Baro about 68, I believe.
>> Mulligan and Smith and the other Smith.
>> About the same. So what?
>> Oh, the company was crazy. How did they die, Ricardo?
>> By some strange coincidence, the poor old fellas all went the same way.
Accidents there in the mine they were working.
>> Did the police investigate those accidents?
>> I imagine so. Now look, >> as you know very well, I was shot at a few minutes ago.
>> Shot at?
>> At a little isolated house on the edge of Golden.
>> You were a lousy shot.
>> I now look here.
>> Oh, so you should have known better than to park that little foreign job of yours in the driveway. At least without washing it down.
>> What are you talking about?
>> That kind of purplish dust it's covered with.
>> Dust?
>> Yeah, I'm talking about the side road back of that house where you tried to plug me. Well, okay. Okay, dollar. Maybe you're right about the whole thing. So, what if I did try to knock you off?
>> Oh, you admit it, huh?
>> Yeah, why not? But since I didn't kill you then.
>> Oh, no, you're not.
>> All right. All right. All right. Put him up. Hands off.
>> Come on. Get your hand.
>> Officer, I've never seen a prettier uniform in my life.
>> What is this? What is this?
>> We've been waiting a long time to nail you, Ricardo. Get him out of here, boys.
>> All right. Take it easy. My name >> Pete.
>> So help me, Ke. I knew of anybody who'd bring Ricardo out in the open. You would.
>> You mean to say that?
>> Yeah. I figured I'd bring these better bring these state police out here.
>> Oh, Pete, you're a doll.
>> Now, let you and me go out and tear the town apart, huh?
>> Later. after I finish this job.
>> Act three of yours truly, Johnny Dollar in a moment.
>> Over 150 years ago, the Swiss poet Oriel wrote, "Heroism is the brilliant triumph of the soul over fear.
Heroism is the dazzling and glorious concentration of courage.
During the Korean campaign, Corporal Ronald Rosser was attached to the heavy mortar company of the 38th Infantry Second Division, United States Army.
Roser, a veteran of World War II, rejoined the army and shipped to Korea when he heard that his brother had fallen in the winter assault of the Chinese Communists.
One day, Rosser's company moved into enemy territory. At the time, the corporal was a forward observer and carried a radio. Suddenly, in the midst of an enemy attack, Roser handed his radio to a buddy, slipped the safety off his carbine, and filled his shirt with hand grenades. He charged at the enemy through fierce mortar and artillery fire, shooting from the hip. Straddling a bunker, he riddled its occupants.
Still advancing, he accounted for two more of the enemy, shooting one through the head and clubbing another to death.
Continuing his one-man charge, he jumped into a trench full of enemy soldiers, opened fire, and forced his way relentlessly down the length of the trench, killing right and left with grenades and carving fire. Out of ammunition, he returned to his company where he replenished his supply. Then he charged the enemy again and again.
Finally, he returned to his own area, and taking the radio back from his friend, he moved out with his company.
Corporal Ronald Rosser was awarded the Medal of Honor for his action. Action which had shown the enemy that his personal code of conduct wouldn't let them push around either his kid brother or his country. And now act three of yours truly, Johnny Dollar and the Denver dispersal matter.
It took hours even with Pete Packard's help and he finally had to go back to his job at the Denver Post. But there and down Ricardo's house, carefully hidden away under a drawer lining and a sideboard, I found what I was looking for, a handful of canceled checks. It was well after dark when I appropriated one of Ricardo's fancy cars and drove back to Denver to a little house in the south end of town, not far from the office of four state insurance company.
As I pulled to a stop, a big truck nearly sideswiped me.
Good. It covered the sound of my stopping there.
As unobtrusively as possible, I walked up to the front door of the place. Even above the sound of passing traffic, I could hear voices, loud ones, coming from somewhere in the rear of the building. Cautiously, I edged my way around the side to where I could see the lighted window of a bedroom.
>> All right. All right. I heard you. I mean, why don't you tell me why?
>> Stop asking questions. Get the things back. Make sure it's only enough foot in the car. We're traveling light and fast.
>> All right, Willie. All right. You're ready. Boy, you're bossier than Dawn ever was. Wouldn't you want to >> put on Ricardo and collect your stuff?
If it wasn't for me, you'd still be working in one of his nightclubs in Chicago.
>> Lucky you never talked this way down to that insurance office.
>> I thought we were going to stay in Denver until you made a lot of dough at the insurance racket, huh?
>> I left this happy domestic scene to walk slowly back to the front door. Yep. My original hunch at the office in Hartford had been right.
What's that?
>> Somebody at the front door.
>> Well, why don't you go answer it, huh?
Chloe.
>> Oh, well, Mr. Dollar.
>> That's right.
>> Oh, my I'm glad you're here, sir.
>> Well, you look upset, Mr. Whitney.
>> I am, sir. I am terribly upset.
>> Handbags. They're in the hall.
>> Yes.
>> Going somewhere.
>> It's that Don Ricardo.
>> Oh, I thought you didn't really know him.
>> I didn't. Oh, if only I'd done it before. I'd never have issued those policies naming him as beneficiary.
>> Done.
>> What? Mr. Whitney investigated that.
Ricardo. But I did after you left me this morning. He's a gangster. An ex gangster. Mr. Dollar.
>> No.
>> Yes. I suddenly realized that in your investigation, you you'd investigate him and he'd think I'd had you investigate him. He'd think I was trying to make trouble for him. Frightened me.
Frightened me terribly.
>> And that's why you decided to leave town, huh?
>> Yes. Yes. Of course. until this whole thing blows over. It's a dangerous man.
He'd stop at nothing. He might even try to kill me. I must leave here immediately.
>> Oh, I wouldn't be too sure of that.
Where did you plan to go? Far away?
Anywhere where he couldn't find me?
>> And where maybe I couldn't find you?
>> Of course. What? Why did you say that?
>> Well, I was just thinking this morning when I was going through the files at your office, you left me alone for a while.
>> Yes. Yes, I recall that I did.
>> Why? To make a phone call. Maybe >> to Don Ricardo.
>> What >> is that? Why he just happened to be waiting in his little foreign car a block or so up the street about the time I left your office in a cab?
>> Mr. Don theory, isn't it?
>> Especially when I have these little scraps of paper to back it up.
>> What are those?
>> Some of Don Ricardo's canceled checks made out to you. 20% of the take on those big fat insurance payments.
>> Where did you get those?
>> 22. They're all dated one day after you paid off on each of those big claims.
>> Give me those.
>> You don't. We're going to need these in >> I'll kill you.
>> That's the milk. Huh?
>> You dirty. I'LL KILL YOU.
>> OKAY, BABY.
>> All right. All right.
>> Okay. Willie, get up on your feet.
>> Yes, sir. Anything you say, Mr. Dollar.
But please, you must believe innocent.
>> That timid soul p of yours may have sold insurance to a handful of suckers, wouldn't he? But it hasn't sold me a thing.
Oh, I suppose you find them in every trade. That still doesn't justify there even being alive, though. Fortunately, in the insurance business, they never get away with it for long. Even a team like Whitney and Ricardo. I wonder if they're sharing the same cell. Expense accounts. Item $6 $10 to the doctor who set up my neck. Item $784 for a night on the town with Pete Packard. Strangely enough, I still have a bit of a headache from it. Expense account total, including a little gift to that taxi driver, incidentals, and transportation back to Hartford. $391.80.
Yours truly, Johnny Dollar.
Our star will return in just a moment.
Our flag now numbers 50 stars.
The cold lights of Denver and the distant Rocky Mountains slowly disappear behind us as the night grows quieter once again, leaving the highways and city overlooks of Colorado behind. We now drift south into Kentucky, where the dark waters of the Ohio River quietly roll beneath the midnight sky. Somewhere along the riverbank, beneath the warm southern night air and the soft glow of an old radio, tonight's journey continues with Damon Renan Theater. Old M's Kentucky home is Broadway. Thanks.
Chances are you never hear of a citizen by name Ichki Iron Hat or his horse Old M. Ichki claims that Old M is a racehorse, but the truth is she is not even able to keep up with the lead pony at the track. even when the pony is walking at a slow gate. However, that is more than somewhat beside the point. The point being the story about Ichi and old, which I will tell you in a minute.
And now back to the Damon Runan Theater and the famous story Old M's Kentucky Home.
Well, it is of a Thursday night and I am sitting in Mindy's enjoying a choice pot roast with potato pancakes when I look up and seek Iron Hat. Now, this is not his real name. In fact, nobody remembers his right name, but he has called iron hat because he always wears a baby pushed down over his head, so he looks like a jug with a cork in it. Ichki spots me and slides into a chair next to me and opens the conversation as follows. How are you, Broadway?
>> I am fine. And you, Ichi?
>> All right, I guess things could be better.
>> I am broke and not good for a touch.
Even a slight one.
>> To tell the truth, I too am in need.
>> The horses do not run right for you, huh?
>> It is not that. Then what is the matter?
>> My ever loving wife and me are no more ever loving.
>> Oh, since when does this happen?
>> Yesterday.
>> You uh have a disagreement?
>> Yes. Over old M.
>> Your horse?
>> My racehorse?
>> I am sorry. Your racehorse. So >> my ever loving wife Mousie delivers an ultimatum.
>> Maybe you better tell me from the beginning.
>> Does not matter where I start, Broadway.
It comes out the same.
>> It comes out that you and Mousie are no longer ever loving because she delivers this ultimatum. But what is the ultimatum?
>> She says to me, she says, "It either you give up old M or you give me up."
>> Oh, I see. You are sorry that you lose old M. That would make me very sad. But I give up Mousie.
>> Hkey, I do not understand you. Old M never wins a race for you. Meanwhile, you have got no ever loving Mousie.
>> No.
>> Well, see you around, H.
>> No. I wish to offer you a proposition.
>> Me?
>> Uh-huh. It comes up soon to Kentucky Dybe. And from what I hear, you would like to see the race. That right?
>> Well, yes, but I do not have the necessary bobs to take care of the transportation to the land of the blue grass.
>> That is what I figure. And that is why I come to you Broadway. I am going to take you to Churchill Downs with me and Old M.
>> Wait a minute. You mean to tell me you are going to take Old M to the Dyb is only for three year olds. Uh maybe I will enter her in one of the smaller races. Then why do you wish my company?
>> I figure I will need you along. Will you go?
>> Is this going to cost me?
>> Not a bob.
>> You have got yourself a customer.
>> Good. Uh, meet me tomorrow morning at Jamaica. We will start out from there.
>> I will meet you at Jamaica.
I am glad to see you show up, Broadway.
Are you ready to go?
>> I am ready, but this is a funny place to catch a train.
>> Oh, we are not going by train. We are driving.
>> Huh? Driving in what?
>> I have bought this truck. Do you think I would put old M in a car by herself on a train?
>> Certainly not. Forgive me. Well, so long.
>> Where are you going? back home. If that is the truck you are going to drive, I sooner would walk on my hands.
>> I pay $60 for that truck.
>> I do not care if you pay 60 cents. I am not going to ride in that. It has no top on it.
>> We will probably have good weather all the way to Kentucky.
>> I will not ride in it.
>> But I promise all them she will have company.
>> You promise all them she who?
>> I figure you do not mind riding in the back with her. I have to drive.
>> Not on >> Broadway. Do you ever see a Kentucky Dy?
>> No. It is a wonderful sight to behold.
It is right in the middle of the blue grass country in May. It is like a wonderful dream.
>> Yeah, but I >> And you will never see such beautiful horses and dolls. I figured there are the most beautiful dolls in the world that go to the diy. And then comes the big race Broadway. You stand there watching the horses come from the paddic. All heads up and tails switching and legs dancing and the jockey silks flashing in the sun and the band playing. But the truck has no top on it.
>> Then it is post time. The horses are at the starting gate. You stick your neck out with everybody else to watch the START AND THEN TEAR OFF.
>> This is the first time I ever ride with a horse.
So that is how I start out for Kentucky with Ichi and M. When I am not in back keeping M company, I lean over and talk to KKI. It is along the way that he opens up and tells me how he gets old M.
>> I do not always have old M Broadway and a name is not always old M.
>> No, to tell the truth, I always wonder how you come by a horse.
>> Well, it is one day at Hyia and I see a race. Uh there is a horse in the race whose name is Emily.
>> That is old.
>> Yeah, but she bows attendant and her owner is going to shoot her >> just like that.
>> Yeah. I stand there and I am not very interested until she looks at me.
>> Who?
>> Emily.
Do you know Broadway? It is just like she talks to me and says, "Do not let this citizen put a slug in me." So I ask for her and get her >> and then >> and then that is the beginning. I own her now for 5 years.
>> It must cost you plenty to keep her in food and things.
>> Yeah. Yeah, it does. And everybody says I am crazy, including my ex ever loving wife, Mousie. Why do you not get rid of the horse?
>> Get rid of all them? Broadway, I could never do that. Look back at her. She looks exactly like a horse, only on the outside. Watch. M.
You see, she talks to me. What does she say? You know, I think she understands what is happening.
>> I wish I do. You think I am crazy, too?
>> Well, let us say that it seems a little odd that you should give up everything for a horse, especially a horse that never wins a race for.
>> You mark my weights, Broadway. Someday everybody will have to eat their weights.
Of course, I believe that Ichi is talking through his iron hand because what can a horse do for him?
Nevertheless, we continue our trip to the blue grass and I noticed that Ichki is looking close at signposts and mumbling to himself over road maps.
Also, we almost get in eight or 10 fights because when Ichki stops to ask directions of the various citizens, somebody always makes a crack about all them and Ichki starts after the person who is rude to the horse. It is a continual source of trouble to me. Then we get well into the state of Kentucky and the scene is as follows.
>> You know, Broadway, it seems to me that we are just about where we should be.
>> Huh? What are you talking about? I see a signpost some miles back that indicates we are still a considerable piece from Churchill Downs.
>> Oh, I am not looking for the Downs. Not yet.
>> You are telling me that you drag me into Kentucky just for the ride?
>> Oh, you will admit it. It's a nice ride.
>> Oh, sure it is a nice ride. Except when it rains and I give up my overcoat to all them.
>> I will never forget it. Broadway leader with old M.
>> What can she do for me?
>> Uh, Broadway, take a look at this road map with me.
>> Do I get in trouble if I ask what you are looking for?
>> Old M's Kentucky home.
>> What? What do you say?
>> You see, Broadway, when I first get Old M, I find out she is bred on the tucky farms. I bet you do not know that she comes of a very highass family.
>> I do not wish to make the acquaintance of her relatives. I only wish to get someplace out of here.
>> Old M is by Christopher out of love always.
>> I am out of patience by far.
>> I do not think you like Old M.
>> I love her. Now, will you please drive on?
>> I wish to give her a chance to see her childhood home.
>> HQ, you are a dope. We are 900 miles out of our way because you figure old M would like to see her cradle.
>> And we will drive on. I am sure we are near the tucky farms.
Broadway runway and look up ahead. Do you see what I see?
>> I see a little white house and there is a citizen of these parts standing in front of the gate.
>> We will ask him the way to Tucky Farms.
>> I hope he knows. Hey. Hey, Broadway.
Look back at old M. Look at her.
>> What is the matter with her?
>> She knows that she is near her childhood home. Look at her sniff in the air.
>> You know, I believe you are right. She looks very excited.
>> Oh, she is a smart horse.
>> I will ask the citizen the way.
>> Hey, you better let me handle it, Broadway. You do not speak the language down here.
>> It is different than we speak.
>> Very different. Uh, good afternoon, sir.
>> Good afternoon, sir.
>> See Broadway?
>> No. Watch.
>> Excuse me, sir, but uh can you all direct me to a place called Tucky Farms, sir?
>> Turkey farms? You want to find the Tucky Farms?
>> Uh that is the general idea, sir.
>> You're from New York.
>> Well, mostly.
>> And you're looking for the Tucky Farm.
>> Uh-huh. Uh do you know where it is?
>> Well, yes, I do. It's about 3 miles farther up the road.
>> Uh thank you, sir.
>> Uh just a minute.
>> Yeah. It's a big red house with some burned down barns in the rear.
>> Oh, thank you all.
>> Just a minute. I'd like to give you a piece of advice.
>> That is real friendly.
>> I don't know what your business is, but keep away from Kentucky Farms with anything that looks like a horse or you'll get into trouble.
>> Trouble? Why?
>> Well, let's say the gentleman who owns the farm is a trifle extent.
>> Hitch key. I think we better skip it.
>> Not in Dawn. I promised old she will see her Kentucky home as she does.
>> Very well if you insist.
>> I do. And uh thank you sir.
>> Not at all, sir. Oh, by the way.
>> Yeah.
>> My name is Leland. Dr. Leland.
>> Nice to know you.
>> I said doctor.
>> So what of it?
>> I'm the nearest doctor within a radius of 30 or 40 miles. You might need me after your visit to Tucky Farms with your horse. Goodbye, sir, and good luck.
>> Now, what does he mean by that, >> he seems like a very nice citizen, and he gives us some good advice. I do think we should inquire further into his reasons for the advice.
>> I will not be stopped now. I promise old M.
>> But you hear what the doc says.
>> I hear, but I will not break my promise to M. Let us go.
Well, I am unable to persuade HKI to time back and because I am in the middle of no place, I go along. And what happens when we get to Taki Farms, I will tell you about in a minute.
As I am saying, Ichki does not pay no never mind to Dr. Leland's advice, but drive straight to Tucky Farms. And what happens is like this.
>> Well, here we are.
>> Here we are. But what about it? It is a little quiet here, is it not?
>> I do not see a single soul. Hitchki, I do not like this. Let us leave.
>> What is there to be afraid of?
>> I do not know. That is why I am nervous.
>> Ah, it looks to me like you never hear a sudden hospitality. Broadway. Do you not know that these people are famous for hospitality?
>> If you will look slightly to your left, you will see some of it.
>> Huh? It has got two barrels and it is pointed right at our heads. A hijacker.
He aims to take Old M. He's coming over.
>> Mister, you got just 10 seconds to get out of here.
>> Now wait a minute. Hi. 10 seconds go very fast.
>> That's right, mister. Now you got 7 seconds.
>> He counts.
>> Now wait a minute, sir.
>> Get out of here before you get hurt and take that load of dog meat with you. Dog me >> on the back of that truck. That is a horse. It might HAVE BEEN. THIS IS THE LAST STRAW. ALL THE WAY DOWN HERE. OLD DEM IS INSULTED. I WILL TAKE NO MORE.
>> It's key. He is much bigger. HE WILL KILL YOU.
>> R. I WILL.
>> MR. S.
>> What's going on here? Come on. COME ON.
PUT UP YOUR DUKES. I WILL MAKE B MEAT OUT OF YOU.
>> PUT UP that gun.
>> I put it up.
>> Yes, sir. Mr. S.
>> Oh, you, sir. Would you please leave my place before I let roof continue? I will not budge a step until he apologizes.
>> You're an intruder on private property.
I'll forgive that if you'll go quickly.
>> He insulted MY HORSE. HE INSULTED EMILINE.
>> YOU can hardly expect him.
What did you say?
>> You hear me, sir?
>> That name? Emiline?
>> It is my horse's name.
>> Ha. Oh, let me look at her.
How long have you had this horse?
>> 5 years. Why? 5 years.
Where did you get her?
>> I get her at Hyia. She was going to be shot.
>> Do you know her breeding?
>> Sure I do. By Christopher.
>> Out of love always.
>> I Yeah.
>> Oh, Emiline. Emiline.
>> Mr. Sbury. So, let me take you back in the house.
>> No. Rof. No, no, no, no. I'm all right.
You've taken good care of this horse, haven't you, sir?
>> Like, she is my own daughter.
>> Rof?
>> Yes. Rof, I want you to allow these gentlemen to park their truck in the old shed and then show them to the east guest room.
>> Show them to guests. Yes, sir.
>> Yes. Do as I say.
>> Yes, sir. Mr. Sbury.
>> Ah, you two gentlemen will honor me.
>> How do you like this? First, they hold a shotgun in our heads and then they >> Please don't blame Roof. He was only following my orders. And now, if you please, Jim.
Well, this is a funny setup and there is quite a bit of mystery, but Ichi does not seem to think anything is wrong.
Well, the day goes by and we are treated fine. Then we are in the guest room that night. Ichki talks me to sleep, but then about 1:00 in the morning, I feel him shaken and the scene is as follows.
Broadway, Broadway, wake up. Hey, wake up.
What is the matter?
>> There is something fishy going on.
>> The man is here with the gun.
>> No, take a look out the window to the shed where all them is.
>> I am looking.
>> And what do you see?
>> I see a light moving around in there.
>> Broadway, you remember that Doc Leland tells us that the people here are funny and they do not like horses.
>> I remember. What about it?
>> I bet they are doing something to old.
I'll kill him. Come on.
So I pull on my pants and shoes and follow Ichi. We get outside with no trouble and then we walk to the shed where old M is beded down for the night.
>> Is that you roof?
>> No, it it is me, Mr. Salsbury.
>> Oh there, Emiline. Easy now.
>> I wish to know what the pitch is, Mr. Sisbury.
>> But uh I come out to see Emiline. I'm sorry if I awakened you. Good night.
>> Oh no. I want to know what is going on.
What do you do to Emiline?
>> Or nothing.
>> I am very fond of old M. And additionally, I plan out of her one of two small races. If she has hurt you, >> I have my word. I I would rather lose my life than hurt that horse. I believe you mean that, Mr. Sisbury.
>> I do, sir. Seems you like her as much as I do.
>> Yes, sir. Will you please come with me?
Where and what for?
>> Is anything wrong, Mr. Sber?
>> Oh, roof. No, no, no. I was I was coming to get you.
>> You want me to chase these two about 10 miles?
>> Oh, no. Rof, give me the key to the west wing.
>> The west wing, sir.
>> Yes, you have it.
>> Yes. Right with me like it is all the time.
>> Oh, well then please come along, gentlemen. Follow me in roof.
Ah, now lend me your flashlight, R.
>> Yes. Maybe I better stay.
>> No, no, no. Go back to bed, R.
>> Yes, sir. I'll be right within course, sir.
>> Yes. Thank you, R. And now, gentlemen, follow me.
Hey, look at this room. Yeah, and look at the dust. Why? This place hasn't been used in 8 years.
>> There is something wrong with it.
>> Look, look where I'm flashing the light.
Hey, a picture. A doll. A very beautiful doll. She was my wife. That's her portrait.
Look closer.
But there is a name on a brass plate that says Emiline.
>> Yes. Emily, my wife.
>> Then old Emiline is named after your wife.
>> Yes.
>> And Mrs. Salsbury.
>> You You saw the burned barn?
>> Oh, sure. We seen them.
>> One night they caught fire. My wife rushed in to save her favorite mayor.
Love always.
>> That was old Dem's mother.
>> Neither neither one got out. I the gentleman gentleman. I I'm rather tired.
Oh, what a cool old guy.
One day he nearly drops when he finds out about all them. Yeah.
Come on, let let us go to bed. I I think I catch a cold.
Well, it turns out that we stay at Tucky Farms and before I know it, a week has passed. Ichi and Mr. Salsbury spend all their time watching old run into pastures. And Mr. Salsbury is a different man. He laughs and smiles and there is a look in his eyes that he's not there when we first see him. In fact, one day Dr. Leland talks to us about it.
>> You done more for him than all my medicine, gentlemen. The whole county is grateful.
>> The whole county?
>> Yes. At one time, Kentucky farms were the pride of the state. Then after the the accident.
Well, you saw him in the farm. I take it. The citizens hereabouts think highly of the old guy.
>> Well, they do. You know, it's the horse that's made the change in him.
>> Old M.
>> Yes. I think it reminded him that Emiline would have wanted him to go on after her death. Why? He's even asked to have the Emiline Salsbury award reinstated. And what is that?
>> Each year $1,000 was awarded to the person who was kindest to a horse.
Somebody gets a grand for being nice to a horse.
>> I am able to understand that. I give up Mousie for Old M.
>> You what?
>> My wife. It is her or old M. You're You're that fond of the horse?
>> I am.
>> Oh, then I I take it you leave here with the horse.
>> Does anyone say I won't?
>> Well, I I guess I was mistaken.
>> About what, doc?
>> I thought perhaps the horse would stay.
>> Well, you get that idea out of your head right now. I would not give up old for anything.
>> No, of course not. Well, see you later, gentlemen. See you later.
some nerve expecting me to leave old M.
Well, I I would sooner leave my right arm.
>> Uhhuh.
>> Besides, like I say, we need the dough and old M figures to win a cheap race.
That right.
>> Sure, that is right. It >> Why do you look at me like that?
>> Oh, >> never mind. You know how. Listen, we are leaving here tonight. We will sneak all them out of the shed and go.
>> Sure. Sure. Tonight.
>> That is right. Tonight, easy girly.
>> Broadway, sure the truck has got gas in it.
>> There is about enough to get us to check your balance.
>> Okay.
She looks good on Broadway.
>> I never see her looking better.
>> Her legs are good. I bet she wins a cheap race for us.
>> Yeah, that could be. Sure she will. Now let us go.
>> Well, evening, gentlemen, >> Mr. Sbury, >> is there anything wrong?
>> No, nothing. Oh, hello, Emiline.
She knew I was coming. I bring her apple every night. And I brought an extra blanket tonight. There's a nip in the air.
>> That is a pretty fair blanket to put on a horse.
>> Oh, I rarely sleep with more than a light cover over me. You bring that blanket from your own bed.
>> Oh, it's quite warm in the house.
>> Yeah.
Yeah. Now, yeah, she'll be comfortable.
You going back to the house, gentlemen?
>> No, we'll go up in a minute.
>> Oh, very well. See y'all in the morning.
Good night.
>> The truck has got gas in it.
>> Yeah, I know.
I >> Come on. Let's get out of here >> now.
>> Now.
>> With or without all.
>> I guess I know all along.
>> Why you laughing?
>> I guess I know all along, too.
So we sneak out that night, but not until after spends an hour saying goodbye to old. And it seems to me that she cries like he does when we leave.
KKY never looks back once we get started. Of course, we never go to Churchill Downs and I never see the Dybe. We go back to New York. And I think that is the end of the story. But it is not. The payoff comes maybe a week later. And I will tell you about it in a minute.
Like I say, it is maybe a week later and I am walking up Broadway when I run into who is standing outside a store. He sees me and the scene is as follows.
>> Broadway, I'm just coming to look you up.
>> Well, well, it's key. How you doing?
>> Fine. Fine. Just fine.
>> Oh, that is good.
>> In fact, uh I am waiting for Mousie to come out of the store.
>> Mousie? Your ever loving wife?
>> The same.
>> But you tell me that it is not ever loving between you and her.
>> Oh, that is all fixed up.
>> You mean she forgives you for walking out on her with a horse?
>> What else can she do when she gets the money?
>> Money? What money? Oh, you do not know.
>> I do not know.
>> Well, you remember that there is the Emiline Salsbury award for people who are kind to horses.
>> I remember. Oh, you get the thousand for being so kind to Emily. And your ever lover mousey likes that.
>> No, no, I do not get the grand.
>> Well, >> Mousie gets it.
>> She does. Why?
>> Well, the committee that gives the award decides that anybody who gives up her husband for a horse must be very kind to horses. So they sent Mousie to Grant.
>> And so ends the famous Damon Renan story, Old Ms, Kentucky.
>> The quiet Kentucky side slowly falls asleep as tonight's journey carries us back toward the Atlantic coast. The warm southern air gives way to cold ocean fog. Rain soaked brick streets and the glowing street lamps of Boston after midnight. Beneath a small newspaper standing with the rain tapping softly overhead, a tired vendor listens closely as Boston Blackie begins tonight's story. 50 Hunter Street.
>> Hello.
>> Is Mr. man letter there.
>> Well, no, I'm sorry he's not. This is his secretary, Miss Rochelle. Can I help you?
>> Yes, you can deliver a message for me.
I've been trying to reach him all day.
This is John Partridge, president of the Morton National Bank.
>> Mr. Partridge? But well, Arthur Bordon is president of the Morton Bank, isn't he?
>> Not since yesterday. He's not. Give this message to Mr. Manletter. Please tell him that his notes to the bank were due and payable on Monday of this week, and we must have our money.
>> But Mr. Partridge, we we showed our books to Mr. Bordon only last week and he agreed to extend the notes until our accounts receivable came in. Our business is in fine shape, Mr. Partridge. Our books prove it.
>> Please tell Mr. Manletter that we'll accept our money in the morning, Miss Relle.
>> But it's $100,000. We can't possibly raise that money overnight.
>> I'm sorry. That's Mr. Manletter's problem. Goodbye.
>> $100,000.
>> Hello, Jean.
>> Mr. Manletter, the bank just called.
There's a new president make >> and they want to foreclose on my notes.
>> How did you know?
>> Read this letter. I got it at the house this morning. Here, read it.
>> If you want to know how to prevent the bank from foreclosing on your note, have your friend Boston Blackey visit a house at 50 Hunter Street at 7:00 this evening. Signed a friend. Mr. Marlet, what does that mean?
>> I don't know. I can't see any connection between the bank and Blackie, but I do know I won't ask him to go to Hunter Street. Well, can we raise $100,000 for the notes overnight? Uh, >> I don't think so, but I'll try. Only there isn't much hope.
>> Then you must call your friend Blackie.
>> No, it can only mean trouble for Blackey. I don't know how or why, but it must be trouble for him if I am being forced to ask him to go there.
>> But Blackie thrives on trouble, Mr. Manletter, and it'll save your business.
>> No, I won't call Blackie. I'm going out to try to raise the money. You'll hear from me later.
>> All right, sir.
Alice, will you call a number for me, please? Get me Boston Blackie.
Uh, tell me, Blackie, which one of these girls do you like best? Come on, take a look at their pictures. Come on, >> All right, Shorty. I'll judge your personal beauty contest for you. Now, this blonde here. Yeah. Hold it, Shorty.
I'll get the phone.
>> Hello, >> Blackie. Yes, >> Blackie. This is Jean. I had to call you. Mr. Manletter is in terrible trouble.
>> Hey, come on, will you? Blackie, come on. Get off that phone. I got to know about this red hair.
>> Lay off, shorty. What is it, Jean?
What's the matter with Arthur?
>> The bank called an hour ago. I've been trying since then to reach you. They're going to take over the business if Arthur doesn't redeem his notes for $100,000 by tomorrow morning.
>> Well, they they they can't do that, Jean.
>> Yes, they can. The notes are overdue.
>> Hey, boss. What about this brunette now?
Come on. Come on, will you?
>> Quiet. Not you, Jean. Uh, look, honey. I haven't anywhere near 100,000 and I wouldn't know where to go to get it by tomorrow morning.
>> I didn't expect you would, Blackie, but Mr. Manletter received a message saying that if you come to 50 Hunter Street at 12 at 7:00 tonight, the notes will be renewed.
>> If I go to 50 Hunter Street, well, what does that mean?
>> I don't know, Blackie.
>> But if I show up, they'll renew.
>> That's what the note says. Mr. Manletter knew you'd be in some kind of danger if you went, and he wouldn't ask you for >> Don't worry, chick. You'll hear from me.
Bye. So, you finally got done. Now, come on. Help me. Look at I got 50 pictures here. Pick out the one I should print up on my wall.
>> I can't do anything about your pinup problem now, Shorty.
>> I've got something at 50 Hunter Street that I've got to pin down.
>> Come in, Blackie. Come in, Blackie. Come in, Blackie.
>> Hey, what is this? Sounds like a record.
Hey, you behind that desk. You and the mask. What is this? Come on, talk.
>> First of all, Boston Black, don't try anything foolish. There's one of my men behind you with a gun. And now that you've turned around to see, let me tell you that you are listening to this recording which I made because I don't want you to know what my voice sounds like in person.
>> A record? Huh? Though personally, I prefer Harry James. Blackie, I want you to listen carefully to what follows.
Have you anything to say?
>> Sure, I have. I hope you're >> okay, boss. Take the record off. He's out cold.
I uh hope I didn't hit him too hard, boss. There's no sense killing him. The law is going to do that for us very soon.
Gee, Blankie, where you been? I've been having pups.
>> Well, I hope they look like their mother. Well, I'm back, Shorty. Only I'm not the same guy.
>> You should have had your head exam for going down to that Hunter Street joint.
>> Cheers. I I had it cracked. That's worse. Take a look at this, Shorty.
>> A bullet hole?
>> Yeah.
>> Yeah. Co pocket. Who'd you shoot, Blackie?
>> I didn't shoot anybody, Shorty. Somebody slugged me and when I woke up, my gun was gone and this hole was in my pocket.
I must have been out for hours. It's uh it's almost 11:00. I called Gene and she told me the bank renewed Manlet's notes the minute I showed up at the Hunter Street place.
>> Somebody sure took an awful crack at you. Hey, Blankie.
>> Uh, it's more than that, Shorty. Only how much more and exactly what, I don't know. Uh, get my robe, will you please?
>> Yeah. Yeah, sure, boss. Uh, give me your coat and I'll hang it over this here chair.
>> Well, here it is.
>> Blankie, what do you make of this business this afternoon?
>> I don't make it. It's got me stumped.
Yeah, me too. Well, here's your robe.
>> Thanks. I think I'll lie down, relax for half an hour. Uh, would you mind fixing me some coffee? Sure.
>> Sure, sure. Have it for you in just a minute, boss.
>> Thanks.
>> Hello, Blackie. Glad to see me.
>> Well, Inspector Farad, of course, I'm glad to see you. Which goes to prove how easy I am to please.
>> Very funny. Well, Blackie, I think you overdid it this afternoon.
>> Well, my head sure feels like I did.
>> That isn't what I mean. Did you ever hear of a private detective named Fred Visual? That crooked jamas. Oh, sure I've heard of him. And he's heard of me, too. Faraday, I got the guy's license suspended when he tried to blackmail me.
Old couple of friends of mine, you know, last year.
>> That's the guy. He didn't like you, Blackie.
>> You know, I'd feel a whole lot worse if you said Rita Hworth didn't like me.
>> You didn't like him either.
>> I hate rats, Faraday. Come on. What's all this about?
>> Nothing. Only Visual was found shot to death an hour ago. Huh?
>> I'm taking you in for his murdered, Blackie. Now, let's get going.
>> Now, look, Faraday, you've done ridiculous things every day of your life. But right now, you're borrowing from next week.
>> What makes you think I bumped off Visual?
>> I don't think it. I know it. We've got your gun and it's got your fingerprints on it.
>> Oh, >> we found it near Visual's body. And if I'm not mistaken, isn't that a bullet hole in the pocket of this code of yours on the chair? You fired from your pocket?
>> Well, maybe I burned the hole with a cigarette.
>> Uh-uh. No cigarette ever burned a hole like that. Come on, let's get going, Blackie. Get dressed and hurry up. Take off that robe. Put a coat on. You're coming with me. Come on. Take that robe off.
>> All right. All right.
>> Pretty robe, isn't it? Too bad you won't be allowed to wear it in jail.
>> You like this robe, Inspector?
>> Well, here. Take a good look at it.
Lovely.
>> Take a good look at it. Right over your head.
>> Shorty. Shorty.
>> Yeah. Yeah. I'm right here, boss. I was waiting for a signal from him before I count it.
>> Well, help me tie him up, shorty. We'll use the cord from the robe. Now, quiet, inspector. Quiet. Don't you know it's impolite to talk with your mouth full?
>> You'll be tied up like a chicken in just a little minute. Now, >> well, I know what the score is now, Shorty. Somebody's fixed it to look like I knocked off Fred Visual.
>> Yeah, I heard. Ain't a very pretty picture, is it, boss? I'm not worried about the picture, shorty. I'm worried about the frame.
>> Who is it? Who's there?
>> Let me in, Jean. Hurry. It's Blackie.
>> Blackie?
>> Oh, thanks. Hi. I'm sorry about coming to your apartment at this hour, Jean, but I couldn't reach you on the telephone.
>> Well, they closed the downstairs switchboard at midnight. What is it, Blackie? What's wrong?
>> I need information, Gene. I need all you know or can remember. There's some connection between a private detective named Fred Visual and somebody at the Morton National Bank. Now, who was it that spoke to you on the telephone?
>> The new president. His name is John Partridge.
>> Well, that's the man I'm going to see.
Faraday's on my trail again, Gene, and I've got to clear myself.
>> Oh, you'll never be able to get into the bank to see Partridge. Especially if Faraday has a drag net out for you. As soon as you show up, they'll throw you in jail. Oh, >> don't worry. I'll figure out a way to get in to see him. But if I don't get anywhere with Partridge, I'm a dead duck.
>> Good morning, Mr. Part.
>> Good morning.
>> Good morning, Mrs. Potter.
>> Good morning.
>> I left you a mail on your desk, Mr. Partridge.
>> Thank you. I'll be in my office if anyone wants me.
>> Don't open your mouth, Partridge, or this gun will shut it permanently. Why?
What? What do you want? Aren't you one of the special police who protects the bank? Oh, well, don't let this uniform fool you. I wore it just to get in here.
And keep away from your desk. You know I'm allergic to the sudden pushing of buttons. Ah, that's better. Now, do you know who I am?
>> No.
>> I'm Boston Blackie.
>> That doesn't mean a thing to me.
>> Oh, I think it does. You called Arthur Manletter's office and told him the bank wouldn't renew his notes. But he received a letter saying that if I were to go to 50 Hunter Street, the bank would renew.
>> Maybe you know what you're talking about, but I don't.
>> You've got to be the man behind a pretty shrewd frame of Partridge. Unless you're acting on somebody's instructions. Now, which is it?
>> Do you know that if I raised my voice, you'd be shot dead by the bank gods before you could go through the front door?
>> Well, I'd have company, Partridge.
Believe me, you. Inspector Faraday thinks I killed a man. They don't hang you twice for a double killing. Why was I framed for the murder of Fred Visual?
I don't know any Fred Visible and I don't know anything about any telephone call that was supposed to be made by me to Arthur Manletter.
>> Oh, you don't? Huh? How about the renewal of Manletter's note?
>> There never was any question about renewing Man Leather's note. His credit is excellent. The note was renewed by me personally at 10:00 yesterday morning with a notary attesting to the time. And that was certainly long before my alleged phone call.
>> Oh, you played it cozy, huh?
>> You knew Manletter would call me, so you bluffed him. How long are you going to make me stand here? Can't you see there's nothing I know that can help you? Why don't you go?
>> I will. I've got another stop to make.
But the minute I leave this office, you'll call for help. Of course.
>> Of course.
>> Oh, but you're not going to.
>> You know, the only way you can do any calling, Partridge, is to talk in your sleep.
>> Mr. Bordon. Yes.
>> I'm sorry to disturb you at your home.
My name is Boston Blackey.
>> How do you do, Mr. Blackie?
>> I uh I came up here to see you, Mr. Bordon. Uh about your bank.
>> You mean about what used to be my bank?
>> I'm sorry. Uh who decided to replace you as president?
>> The board of directors.
>> Oh, and was it done suddenly?
>> Yes. Very.
>> Uh-huh. And uh where did John Partridge come from?
>> I don't know. You'd been on our board of directors only a short while.
>> Oh, >> I'm an old man, Blackie. The loss of my bank was a blow to me. Everything came so suddenly. I haven't gotten used to not being there anymore. Will you forgive me if I'd rather not talk about it?
>> Oh, I understand, Mr. Bordon. I I'm going to try to get your bank back for you, but I need some help. Now, here's an address where I can be reached. Oh, you must have some loyal employee at the bank you can depend on. And would you call him and get him to find out something about Partridge? And if you get any information, send me a message.
And um send that ring you're wearing with it so I know it's from you. I'll send you a message if I get it, but with just a paper clip on it. I haven't been able to get this ring off in years. The paper clip will identify my messenger if I hear anything.
>> Good. Give me a little help. I'll turn a murder over to Inspector Faraday, get rid of the charge against myself, and give you a bank right in your side pocket.
We've got to stay down here at my waterfront hideout during the day, shorty. Every cop in town is on our tail. And Faraday's sworn he won't sleep till he brings me in.
>> It's okay with me, Blackie. Uh, and go ahead. It's your deal. You got me. Let me see. You got me 60 to 17 and two boxes. Go ahead. It's your deal.
>> You know, one thing about Jin Rummy, it sure passes the time away.
>> Yeah, it passes my doll away, too.
Okay, you two hoist him. Come on, Batsy.
>> Yeah, yeah, I'm coming.
>> Now, look, Lucky, stand up and don't try. No, no, nothing foolish. I I know all about you and your trucks.
>> Well, I wasn't exactly going to ask you to pick a cod. Who are you?
>> A guy who ain't going to be outsmarted by you.
>> Oh, tie the little guy up, Betsy.
>> Yeah. Yeah, I'll tie him up good, too.
>> Don't talk. Tie.
>> I'm tying him. He ain't going to go nowhere for a while.
>> Okay. Well, suppose we start moving, Blackie. You ready, Py?
>> Yeah, yeah, yeah, I'm ready, Mug.
>> Well, of course. Don't anybody ask me.
>> You're ready, Blackie. But you don't know for what. Now, start moving.
>> Oh, this is a ride, huh? Okay. One way.
>> Oh, I wouldn't say that, Blackie. We're coming back, Paty and me. But we got orders to get you.
>> Orders to get me, huh? Dealing in the Blackie market.
>> You'll strain an arm reaching for jokes like that.
>> I thought that was rather clever, isn't it?
>> But you might as well know something.
Yeah, >> we ain't taking you on any gang ride.
We're turning you over to the cops.
>> Yeah, I'll bet. Couple of hoods like you wouldn't go within two miles of headquarters. I guarantee Faraday's got charges hanging over both you guys.
>> Maybe. Only he'll be so glad to see you, he won't be able to think straight. All right, let's get moving, Blackie. And remember, I'm the guy that's got the gun on you.
>> Okay, Mug, but take my word for it.
Someday you're going to beg me to forget that.
Jackie, there's something natural about the way you look behind bars. They look good on you.
>> Well, thanks.
>> You've got no idea how nice it is to see you sitting so sweetly in that cell.
>> Now, Faraday, listen. I didn't knock off visual. No kidding.
>> Of course not. And you didn't throw your bathrobe over my head and tie me up either, did you, Blackie?
>> Well, yes, I did do that, Faraday. You know I did, but I did it to help you.
>> Oh, this is going to be good. Now, tell me how.
>> Well, somebody knocked off Fred Visual.
Your job is to catch murderers, Faraday.
I I had to be free to help you. See, >> Blackie, you should have been a lawyer.
>> Thanks.
>> Only you're overlooking a slight something. Your gun. Your pretty little gun with your fingerprints on it and a slug from it in Visual's head and the bullet hole in your coat pocket. Nobody else killed Visual Blackie. You've got no alibi. You hated the guy in your gun did the job. Looks like kind of a perfect job to me.
>> This is a frame up, Faraday. Now you've got to do something you've never done before.
>> Oh, what?
>> Use your head. Like you're in jail, Blackie, and you tell me to use my head.
Don't you think this is a spot where you should use yours?
And now back to Boston Blackie starring Chester Morris. Blackie is in jail.
Inspector Faraday knows that it was Blackie's gun that killed Fred Vizwell, and Blackie can't clear himself while he's in prison. Into the cell block where Blackie is being kept, walks a young lady. The policeman at the end of the quarter said I could come in and talk to all the other policemen in the whole jail. And you're the other policeman, so I thought I'd come over and talk to you.
>> All right, miss. But about what?
>> About the ball, of course. Everybody knows about the ball.
>> What ball?
>> The ball we're giving, but I'm selling tickets only to policemen.
>> Well, now I've heard everything. Selling tickets to policemen for a civilian's ball. How much are they?
>> A dollar. But the policeman at the end of the quarter said that if I came up, >> here's a dollar and keep the ticket.
And the next policeman is right down past this row of cells. Go bother him, will you, please?
>> And uh don't tell me that bag you're carrying is full of tickets. There aren't that many policemen.
>> Oh, you're so silly. Of course not. I always carry a bag. It makes me look as if I'm always about ready to go someplace.
>> Well, you can go right now. I'll unlock the door. You can walk down the corridor till you find another cop at the end of it. Um, his name's Murphy.
>> Isn't every policeman?
>> Oh, I don't know. All right, go. Go on, miss. Right down the quarter. And don't mind them mugs in the cells.
>> Blackie.
>> Jean, what are you doing here? This isn't visiting day.
>> Blackie, listen. I've got to keep walking when the guard looks this way.
>> Oh, don't be silly. Come in. The door's open.
>> The cell door's open.
>> Sure, try it.
>> It is, Blackie. How did you do that?
>> Close the door. You know, I could open the cell door. All right, Jean. That was a cinch. But I haven't figured out yet how to get past the guards at both ends of the guard.
>> Stop figuring it, Blackie. Here. Look at this bag I brought. It's an outfit that matches the one I'm wearing. Only it's a couple of sizes larger. Put it on quick.
>> What? And leave you in the cell. Oh, nothing doing, honey.
>> I'll go out the door. I came in, Blackie. And you go out the other one.
Only hurry. The guard might get curious.
>> Okay. Well, it won't take me a second now. First, roll my trousers up and on with the dress. Oh, you brought a wig, too, huh? You think of everything. Can I Can I get into these shoes?
>> Sure you can. in a hurry, Blackie. Don't forget your hat.
>> Say it's a cute one. All right, zip me up, will you? And I'm all set.
>> There.
>> Now, just walk out, Blackie, and tell a cop the end of the corridor. His name's Murphy. Tell him you ran out of tickets.
Uh, can you talk like a girl?
>> Who? Me? Of course I can.
>> Oh, you better not talk. Bye, Blackie.
In luck. Meet me back in my apartment.
>> Oh, thanks, Jean. You're wonderful.
>> See you later, Blackie. You look awful cute in that outfit. Watch out for the wolf.
>> Oh, not me. For once, I want to be on the receiving end of a This is the house, Shorty. 50 Hunter Street. I don't know what I'd expect to find here, but let's go in.
>> Why, boss?
>> Well, maybe I can pick up something inside that'll give me a clue to that masked man. Uh, you see any lights?
>> No. No, there ain't anybody.
>> Okay, now don't hit your flashlight while we close the street door. Oh, what kind of a lock is this? I don't know, but if you're working on it, it's an easy lock. I'll guarantee that.
>> No, shorty. It's an open lock. Come on in. Shh. Quiet.
It's a flash, shorty.
>> Right.
>> Yeah. This is the room where I got conked. The mask guy sat right over there facing me with his hands folded on that table and he Shorty, >> what? What? What happened?
>> I know now who the mass guy was, Shorty.
>> Yeah.
>> I'm going to straighten out this whole mess.
>> Wait till I look up a number in this phone book. Let's see. Who are you calling, Blackie?
>> I'm calling the murderer of Fred Visual.
Wait a minute. Yeah. Hey, here it is.
Well, now let's hope I sound like the mug.
Hey, boss. This a mug. Come right down to Hunter Street House. I got Blackie here. He's Hoy.
Oh, you want to talk to him? Okay. Talk to the boss, Blackie, or you get it again. Here, take the phone.
So, you're the boss, huh? What am I supposed to do? Applaud. Hey, give me that phone, Blackie. Okay, boss. Yeah.
Yeah, that sure is, Blackie. Huh? Oh, you'll be right down.
>> Good work, E.
>> Good.
>> Yeah.
>> Quite a swell.
>> Okay, shorty. Now, you beat it. I'm staying right here, and I'm handling this alone. But I have a job for you when you get outside.
>> Okay, boss.
>> It may decide who dies for the murder of Fred Visual. And just between us, I'd rather it wasn't me.
Mug. Mug, are you in here? Mug, turn on the light. It's dark. I can't see you.
Turn on the light.
>> Here's a light, Mr. Bordon. Right in your face.
>> Boston Blackie.
>> That's right. Boston Blackie. You had a very nice frame up all fixed for me, but I think you're going down to explain it all to Inspector Faraday now.
>> Do you? Well, I don't. So, the phone call to me was a gag. Eh, I might have known it was one of your tricks, Blackie, but I didn't. No harm done, though. I'll just leave.
>> Oh, just like that.
>> Mhm. And don't think you can threaten me, Blackie. As long as I'm alive, I'm a potential alibi for you. Only you and I know you didn't kill Fredbe as well, and that I did. And you've got to let me live in the hope that someday I'll confess.
>> Yes. Yes. I guess maybe I do. Oh, you're a pretty smart man, Bordon. You'd have to be to have me in this kind of a jam.
What did Viz will ever do to you?
>> He thought he could outsmart me, the fool. Some private investors had him checking the books at the bank. Found that I'd taken quite a bit of money that didn't belong to me. And he thought he'd try a bit of blackmail. He didn't get very far.
>> Pretty thorough, aren't you?
>> I think so. How did you know I was the masked man, Blackie?
>> Well, two ways, Bordon.
>> Yes.
>> One was the fact that I gave you the address of my waterfront hideout, and later your hoods paid me a visit down there. You were the only one that had that address. The other was that ring you're wearing. Uh, you know, the one you told me you couldn't take off. When I came in tonight, I remembered the masked man was wearing that ring. You know, putting John Partridge in your place as president of the bank sounds like a wonderfully smart idea.
>> It was. I was tired of working and I can throw Partridge in jail anytime I like for little embezzlement job he did. So he must do as I say. And now Boston Blackie, let's go visit Inspector Faraday.
>> Well, no, Mr. Bordon. I I don't think I care to see the inspector tonight.
>> No, perhaps this gun will make you change your mind. I happen to know that Faraday has your gun. You're still under suspicion of murder, you know. And if you try to escape, Blackie, I'll think nothing of killing you in cold blood.
>> You know, I believe you would, Bordon.
All right. All right. I'll go with you.
I guess I'd rather be a live prisoner than a dead suspect.
>> Here's Inspector Faraday's office.
Blackie, walk right in. Go on. Okay, if you say so, Bordon.
Hello, Inspector. Say, look. Don't you ever sleep.
>> Hello, Blackie. I've been expecting you.
You're a little late.
>> Would you mind telling this gentleman in back of me to get rid of his gun, please, Inspector? He doesn't realize that it's impolite to point. His name is Arthur Bordon.
>> Okay, Mr. Bordon, I'll take that gun.
>> Certainly. Here you are.
>> Well, looks like I've got a first rate murder suspect right here in this room.
>> It certainly does, Inspector. Like to lock him up >> in just a minute. In fact, I might as well do it very legal and proper.
>> Arthur Bordon, you're under arrest for the murder of Fred Visual.
>> What? Me? Why? I >> David, I wish it was Blackie. Only it isn't. We've got your confession in your own voice. Right on the dictraph record.
>> A dictaph planted in my Hunter Street house. That's impossible. Nobody could have put a dictaph in there.
>> You tell him, Blackie, you figured this thing out.
>> Well, before you came into the Hunter Street house tonight, Mr. Bordon, I dialed the inspector's private number on the telephone and left the receiver off the hook. You see, I had Shorty call him before and tell him to expect his private telephone to ring. All the while you were telling me how perfectly you would frame me. The inspector was listening on this end.
>> Yeah. Not only listening, but having the whole thing taken down on a record.
>> Uh, say, inspector, I did you a favor, didn't I, by turning up Visual's murderer?
>> You did yourself a bigger favor. But what's on your mind?
>> Well, I'll tell you, inspector, shorty told me you have Gene Rochelle booked here.
>> You said it, Blackie. She helped you escape from jail.
>> Well, maybe she did. But uh if she did, I brought you in a murderer. So you certainly owe her a favor, too, right?
>> Well, maybe. What do you expect me to do? Let her go.
>> Sure. You've held along enough. Now it's my turn.
You've heard about making mountains out of mole hills, but here's how to make mountains of dishes go right down to nothing in a hurry. You put some rinso on your dish pan, and up go the suds.
Plenty of thick suds from surprisingly little Rinso. And down goes that stack of dishes in practically no time. Yes, dishwashing is a mighty easy, simple job with Rinso helping out. China, silver, glassware, they're all shining brightly in a jiffy with Rinso soapy rich suds on the job. Well, even your pots and pans come clean easily when Rinso gets to work. Use Rinso 2 for all the soap and water jobs around the house. It's swell.
Now, a glimpse at next week's adventure of Boston Blackie.
>> All right, Monahan, give me a little more juice in that light.
>> No, not under there. I can't stand it.
>> That's better. Now, listen. Shorty, you say you don't remember what happened?
>> I I don't. I keep telling you I don't.
>> All right, maybe you don't remember. You were slug. Now, we don't want to know anything except one thing. Now, think hard, Shorty. Who was the last person you saw or talk to before you were slug?
Now, that's all we want to know.
>> I'm thinking, Inspector Arnold, I'm dizzy trying to think. I don't know. I just don't know. Hey, wait a minute. Oh yeah, I remember now. The last person I talked to before I got conchk was uh was Boston Blackie.
The raincovered streets of Boston slowly disappear into the night as our journey makes its final trip southward. Far from the cold Atlantic coast, the air now grows warmer and heavier beneath the dark skies of Louisiana, where fogs drifts across the bayou and distant jazz echoes through the humid midnight air.
And now for our final story tonight from box 13, Death is a doll.
Box 13 with the star of Paramount Pictures, Alan Lad as Dan Holiday.
>> Box 13, Car of Star Times. I don't know quite how to begin this letter, except to say that it may sound fantastic to you, perhaps even a joke. But please believe me, I am serious and the situation is serious. A man is dying, yet he has nothing wrong with him. He believes he's going to die 5 days from now. And so Bart Lefay is dying. A strong, healthy man is dying because of witchcraft.
I know this sounds in congruous, anacronistic.
in this 20th century. But if you will come to Belveloo, Louisiana, you will see for yourself and perhaps be able to help. Sincerely, Doris Gordon.
Sure, I laughed when I sat down to read Miss Gordon's letter. But the laugh stopped in Belaloo, Louisiana.
And now back to box 13 and Dan Holidayiday's newest adventure, Death is a Dow.
>> But Mr. Holiday, you don't believe this, do you, >> Susie? As my old grandfather used to say, there's no such thing as a sure bet or a sure loser.
>> I don't get it. Well, to quote the timeworn passage from Shakespeare, there are stranger things in heaven and earth, Horatio, than are dreamed of in your philosophy.
>> Who's Horatio?
>> That's beside the point.
>> But Mr. Holidayiday, she she says witchcraft. Now, that's just it's Well, it's imposterous.
>> Had a girl, Susie, you never let me down. You had to hunt for it, but you found the wrong pronunciation.
>> That's beside the point.
>> Yeah, it could be. But something tells me that Louisiana offers interesting possibilities.
Before I took off for Louisiana, I went to the Star Times and did a little research. You know, it's surprising what a person can find out about things he thought went out with the oil lamps, horse cars, and witch trials. But look at the bustle. Everybody thought it was dead. But now look. Well, just look.
Anyway, what I learned made me change my mind a little about that letter from Doris Gordon, who met me at the station at Belveloo. 5 minutes after I got off of the train, we were driving along a dusty back road in her little car.
>> I didn't think you'd come, Mr. Holiday.
>> Well, I never refuse a chance to get mixed up in something that sounds different >> or insane.
>> Well, what's the difference? Automobiles and radios were different when they came along. Before that, they were insane.
>> But this is different.
We're in the 20th century. Salem and the witch hunts are history.
>> History? Well, to bat a cliche into center field, history repeats itself.
>> I know. Oh. Oh, by the way, no one must know why you're here, Mr. Holiday.
>> Yes. Why not?
>> Because these people are fine and honest, but they're liable to resent a stranger.
>> Oh, so what happens?
>> I want you to pretend to be my cousin.
>> Glad to. But won't they know you haven't got a cousin?
>> No. I teach school here. I've been here only 6 months. No one knows much about my personal life. They've come to trust me like me. I think they'll accept you because of it.
>> Fair enough.
>> Now I bored with the Lefay.
>> Lefay. Oh, your letter mentioned a Bart Lefay.
>> Yes. He's the youngest son >> and he's dying. So you sent >> Yes. In one month he's become almost a dead man. Why? What did the doctor say?
>> He said there's nothing wrong with Bart.
>> But there has to be.
>> That's what I told myself. I told it to Bart, but Mr. Holiday, he knows he's going to die because someone has told him.
>> Who? Who told him?
>> I don't know who started it, but now everyone in Belaloo knows it. It's It's been like a snowball. Building building.
>> You're in love with Bart?
>> Yes, I am. H. All right, but well, I don't see what I can do to help.
>> You've got to. It was only by chance that I saw your advertisement in the Star Times, a newspaper published in a city hundreds of miles from here.
Remember, adventure wanted. We'll go any place, do anything. Write box 13. I had to write to you.
>> Just a minute, Miss Gordon. Let me ask you one question.
>> What?
>> Have you gone to the authorities? the show for example.
>> Of course I have.
>> And >> Mr. Holiday, the law can't help when you're fighting something you can't see.
>> So I was taken into the Lefay home as Doris Gordon's cousin. There was something about the house, an aura of fear that hung over it like a deadly paw. Bart's mother, his father, and his two older brothers seemed to have accepted the fact that Bart would die.
Die when he said in two days. That night, Doris arranged for me to be alone with Bart in his room. The house was located near the edge of one of the big bayou, and somewhere outside in the night, the strange, eerie animal sound seeped through into the room where I sat with the sick man.
>> How do you feel, Bart?
>> Not fit, Mr. Holiday.
>> Oh, now look here, Bart. The doctor says there's nothing wrong with him.
>> Ain't nothing he knows. Ain't nothing he can know. Now look, a man just doesn't die without something being the matter.
>> I got just 2 days tall.
>> Bart, that's nonsense. Now snap out of it.
>> You just don't believe it, do you, mister?
>> No. No, I don't.
>> And why don't you ask down in the village? Ask anybody >> about what?
>> About what's happening to them. People see it happen before and there ain't nothing nobody can do. Ain't nobody can help. There ain't nothing.
>> Doris. Doris.
>> Doris, get some water.
>> We can't swallow when he's like this.
>> Here, B. Come on. Sit up. Sit up. Let yourself breathe.
>> It's getting worse. It's like somebody tighten the rope around my neck.
And soon it'll get so tight I can't breathe no more.
>> But you mustn't you mustn't say that.
>> Ain't nobody can help. Nobody.
>> Doris, >> what? Dan, >> where's the doctor?
>> In the village.
>> I'm going there. You stay here with Bart.
>> All right, take the car.
>> There's only one doctor.
>> Yes, Dr. Brennan.
>> All right. Now, don't leave Bart. I'll be back soon.
>> I'm sorry, Holiday, but there's nothing I can tell you. There's nothing wrong with Bart Lefay.
>> You're sure of it?
>> Look, anything that drags a man down from 200 odd pounds to 150, I'd know about. Maybe I'm just a vision.
>> Oh, I didn't mean it that way, Dr. for Brennan. But but as you say, a man can't lose over 50 lbs and look as Bart does without a cause.
>> I know that as well as you do.
>> Yes. Well, better than I do. So, let's be honest with each other.
>> Honest? What do you mean?
>> Because you're a doctor and because you're rational, logical, and reasonable. You won't let yourself accept the only explanation of Bart's illness.
>> I can't listen to any such nonsense.
Holiday.
>> Is Bart's condition nonsense?
>> You're supposed to be an intelligent man.
>> Yes. And so are you.
>> Because I am, I I won't think about it.
>> You've never seen it happen before.
>> No.
>> But you've heard about it.
>> Anybody who lives among people who believe in it has heard about it.
>> All right. Now, doctor, let's say what we're thinking.
>> I'm not thinking anything.
>> Bart Lefay is dying because because he's the victim of witchcraft.
>> You don't believe that.
>> You mean witches, charms, potions, and that stuff? No. I'm as hard-headed as you are, but Bart believes it.
>> Why, it's so ridiculous.
>> To you and me, yes. Maybe a hypochondric is too, but to him, his imagined illnesses are real. You don't laugh at him and send him away, do you?
>> Well, of course not.
>> And I'll tell you why not. You know his illness is in his mind, so you play along, comfort him, because if you didn't, you know, he'd become worse simply because he'd think he was.
>> Uh, well, you're all right. Supposing you're right about Bot. What can we do about it?
>> You've told him there's nothing really wrong.
>> A hundred times. There's nothing else I can do.
>> But I might be able to help.
>> How?
>> Find out who started this thing and why it continues. If we destroy the cause, Bart will get well.
>> Do you expect me to help?
>> Won't you?
>> Holiday. I'm a doctor, a physician, a member of the association. If I poked around in something like that, what effect do you think it would have on my reputation?
>> Yes, I see your point. And it's up to me alone.
>> I'll help you up to a point. Beyond that, well, it's it's all yours.
>> Fair enough. Now, I've got to talk with the people here.
>> You won't get very far.
>> Why not?
>> Because not one of them will say anything or lift a finger >> because they're scared to.
>> That's it, >> doctor.
Bart Lefay has only tomorrow and the next day to live unless I can lick this and I'm going to try.
I left Dr. Brennan and went back to the Lefay place. I had to talk to Doris alone and later in the darkness outside.
>> Damn, it's too fantastic. Too weird.
>> Now listen to me, Doris. I did a lot of reading before I came down here. Know what I found out?
>> No. What? In the last 10 years, there have been over a 100 cases of so-called witchcraft. As recently as 1939, a man on trial for murder claimed self-defense on the grounds that the person he killed had charmed him, hexed him.
>> It's unbelievable.
>> Yeah, that's what I thought. But look in the newspaper files.
>> This is the 20th century.
>> It could be the 120th Doris and still people will believe what they want to believe.
>> Do you believe it?
>> No. No. There's no power on earth that can kill like that. The only power lies in the victim's mind, in his will to believe.
>> And why?
>> He believes it so strongly that he's dying.
>> He can't die. He just mustn't.
>> Look, who started this? There had to be someone that planted that suggestion in his mind.
>> No one. There isn't a person in the village, in this whole parish, who doesn't like Bart.
>> But there has to be, Doris.
>> It must be some horrible malicious joke.
>> Joke would have been called off before this.
>> Then I don't know. If if I'd go into the village tomorrow, what would I learn from the people?
>> Probably nothing. No one will come near here. I have to drive in for supplies every day.
>> Bart, that was Bart.
>> Come on.
Dorsai ran into the house and Lefay was standing near the door of Bart's room, staring at the closed door. Terror in their faces. I ran past them.
Bart. Bart. Dors. Get the lamp. Hurry.
Here. Bart. Bart.
He's all right. He He He just faded.
>> But why? Why?
>> Here's your answer.
>> What? What's that?
>> Dor, shut the door. Keep the rest of the family out of here.
>> Wait out there, please.
>> Blow out that lamp.
>> Blow it out.
>> What are you looking at? Is there somebody in the clearing outside?
>> No.
No, not a soul.
I didn't expect to see anyone.
>> You didn't expect Look, this charm that made Bart scream was tossed in through this window, Doris.
And nothing supernatural or magical about it. It was a human being who tossed it in.
>> But why?
>> To let Barton know he has only two more days to live.
And now back to Death is a doll. Another box 13 adventure with Alan Lad as Dan Holidayiday.
It wasn't pretty that charm. Wear it was made with feathers and leather and bits of bone gave me a cold chill. I stuck it in my pocket and then took it out again.
It was silly, but I didn't want the filthy little thing near me. Bart came too. We made him comfortable, and I spent the rest of the night sitting by his bed. Then the next morning, Saturday, Doris drove me into the village. While she did some errands, I went into the general store.
>> Morning, mister.
>> Oh, good morning.
>> Can uh I do something for you?
>> Well, I a stranger here, ain't you?
>> Yes, I just came in yesterday afternoon.
I'm Miss Gordon's cousin.
>> Oh, sure. And girl, Miss Gordon.
>> Yes, she is.
>> Boys, this here is Miss Gordon's kid cousin.
>> Name's Ed Masters.
>> Hello. How are you?
>> John Lush.
>> How you doing?
>> Tuck Wilson.
>> Hi.
>> In the rest of them.
>> Hi.
>> Staying in spell. Mr. uh Mr. >> Name's Dan. Just call me Pop. Everybody else does. The old Tuck here is about 10 year ahead of me.
>> Oh, okay. Pop.
>> As I was asking, staying long.
>> Well, I don't know.
>> Vacation?
>> Sort of.
>> Oh, staying here at the hotel.
>> No, no, no.
>> Oh, ratting the old Gerard cabin, huh?
Folks are due for vacation.
>> No, I'm staying with the Lefayes.
Well, I must have said something wrong.
>> That's one mighty good way to clear the store. Just mention Lefes.
>> Aren't the Lefayes liked?
>> They was.
>> Was >> You come in here to buy something, mister?
>> No. I >> Well, then I got to get busy. I got to get some stock put away.
>> Now, just a minute, Pop.
>> Huh? Want something?
>> I want to know something. Maybe you can tell me.
>> Depends. I don't know much.
>> I'll make it worth your while.
>> You can uh put away your money, mister.
If and I wanted to make talk, I wouldn't take no pay for it.
>> Oh, I see. I'm I'm sorry.
>> You uh ain't staying long with the lefay, are you?
>> I don't know.
>> You better know.
>> Listen, Bart Lefay is dying, >> is he?
>> You know he is. He's been alien, not been bitten.
>> Pop. Who's doing it to him?
>> I ain't got no idea what you were talking about.
>> I think you have. You can't stand by and see a man die like that.
>> Sooner or later, we all got it.
>> Pop, if you can tell me anything.
>> That ain't no use to asking me. And if you want advice, mister, don't stay no more at the lefay.
I got to get back to work.
>> Oh, now wait a minute, Papa.
Yeah, it was useless to try that anymore. I went outside and stood there for a moment. Then I glanced back at the store and staring out at me from a window was the face of a girl about 18.
And if ever a face showed fear, there it was. Before I could move, she pulled back and away. Outside in the street, little groups of people stared at me.
And when I looked back at them, they walked out of sight. Farther down the street, I saw Doris and she was talking with a big husky fella and I walked toward them.
>> Dan, where did you find her?
>> Oh, nothing.
>> Oh, I knew it. Oh, Dan, this is Dig Lawson, Bart's best friend. Dig, this is Dan Holiday, my cousin.
>> How are you, Dig?
>> Treat them yellow livers were scared, huh?
>> Yeah, look like him.
>> Look here, mister. I ain't scared. If you want any help, I'll give it to you.
>> Thanks, D. But can you help?
>> Maybe. I got an idea.
>> An idea, ditch, about what?
>> Look, here some place out in the bayou is what's killing Bart.
>> In the bayou?
>> Yeah, I know that by you like a back of my own hand. Some funny things can go on out there, mister.
>> Like what?
>> I seen a doll once hanging from a tree dressed up like a man. I was dressed up like Bill Dacon. Ain't long after that, Bill took sick. Britney died.
>> You saw that ditch? Why didn't you do something?
>> Me? I ain't going to touch nothing like that. Them touches, they get sick and die.
>> You think that's what's happening to Bart? Is that it?
>> Maybe.
>> I see. Well, thanks for offering to help.
>> That ain't nothing.
>> We better be getting back now, Dan.
>> Huh? Oh, yeah. Sure, sure.
>> Glad to met you, Dan. See you. Yeah.
>> Oh, yeah. Yeah. I'll see you later.
>> Bye, Dad.
>> Bye, >> Doris. How good a friend is Dart?
>> Well, they grew up together.
>> And would he tell us if he knew who was doing Mr. Bart?
>> Oh, I'm sure he would.
>> Then we have someone to help us.
>> But I think he's really afraid, too.
>> He'd never admit it.
>> Do you think he'll be able to help?
>> That depends.
>> But what he said about that doll and Bill Dacon, did you believe it?
>> Yes, I did because it's happened before.
>> Dan, you can't mean it. You can't mean it because it's impossible.
>> So is the fact that Bart's dying with nothing wrong with him. But he is.
>> Then how can we stop it, Dan?
>> Well, I don't know yet, but we've got to find out today. Tomorrow may be too late.
Let's get back to Bart.
When we got back to Bart, I tried to get him to tell me who had told him he was doomed to die. He wouldn't say. Bart had one more day to live unless unless we could find the evil thing that was preying on his mind. It was later that night, close to midnight. I couldn't sleep. If I was lying on a cot when I heard a noise at my window.
Who's that?
Who is it?
What the sh?
>> Don't talk loud, mister.
>> Who are you?
>> My name's Melissa. Please, mister, I got to tell you something. If you want to help Bart, >> wait. I'll come right out.
>> No, no, you just got to listen. I heard you talking in the store to my pop. You want to know about Bart?
>> What do you know? Come on, tell me.
>> Gage put the death on Bart.
>> DJ?
>> If he finds out I told you he'd kill me.
>> He won't do anything of the kind.
Melissa, now what do you know about this?
>> Everything was all right till she come here.
>> She miss Gordon.
>> Her dig got smitten weather.
>> Oh, now now Melissa, we'll fix all that up. But you've got to tell me what you knew quickly. When Bart took sick, I noted it was something dead had done. I followed him out to the bayou >> and >> five times I followed him to Grandma Juno's place out there.
>> Grandma Juno? Who is she?
>> A witch.
>> Melissa, there's no such thing as a witch.
>> She is. She is.
>> All right, let it go. What else do you know?
>> Ditch's gone out there again tonight.
>> Tonight? How do you know?
>> I saw him taking his boat out of the shack. Mister, he's gone out there tonight to see Grandma Juno. This will be the last time. They will twist the thread around Bach's neck and tomorrow he'll be dead.
>> Melissa, can can you take me out there?
>> Me? No, I ain't gone no more. I ain't. I I'll take sick and die.
>> Wait right there. You and I are going into town.
>> What? B.
>> Never mind. Just wait there.
I awakened Doris, told her what was happening, and took her car. Melissa and I drove into the village. Later, she Dr. Brennan and I went out to the edges of the bayou. And >> if a word of what I'm doing gets around, I'll be done for.
>> You've got to help.
>> All right. All right, Melissa.
>> Well, you sure that you can lead us to Grandma Juno's in the dark?
>> I think maybe so. Well, >> come on. We're wasting time. Get in the boat, doctor.
>> Okay. And for this, I got an MD degree.
Chasing around in the black of midnight after a witch. Ready?
>> I am. Go straight ahead until we come to the turn, then go left.
>> Oh, good. Ready, doctor?
>> I got to be.
>> All right. Now, no lights and be as quiet as you can. Let's go.
>> Maybe I'll live to be a hundred. Maybe I won't. But I'll never forget that midnight boat ride. All around us, the huge cyprress trees jutted up in the moonless sky. The drooping Spanish moss brushed our faces, and it was too dark to see a foot in front. But Melissa, well, she knew what she was doing and where she was going. Once or twice, a dark shape in the water bumped against our rowboat, slithered away. Then >> it's right up a Hayden.
>> I can't see a thing.
>> Melissa, you're sure?
>> I know it.
>> You can believe her, Dan. These people know their way around these biomes with their eyes closed.
>> Look, there's a lantern up ahead.
>> There's Dig's boat.
>> Stop rowing, doctor. Easy.
>> I'm going to take second eye. I'm going to take second.
>> No, you're not, Melissa.
>> Look.
Good heavens. Up ahead on a little island in the light of an old lantern were Dig and an old woman. Dig was sitting on a log watching while the old woman cruned over a doll cruned over it and wrapped a string tightly around its grotesque neck.
>> Silently slowly we got closer until we could hear her words.
>> Breathe and gasp. Breathe and gasp. You laugh, my son. Tighter. Spider down on your throat. The devil's hand IS CLOCKING.
>> THAT DOES IT.
>> WHO'S THAT?
>> GET AWAY. GET AWAY.
>> COME ON, DOCTOR.
>> HE'LL SHOOT. HE'S GOT HIS GUN.
>> HE CAN'T see us. Melissa, stay in the boat.
>> Stop where you are. DON'T YOU COME AND CLOSE IT. If you do, I'LL >> KILL HIM, KID. STOP HIM.
>> HOLIDAY. HIS GUN. DON'T LET HIM GET IT.
>> DO YOU HAVE DEVIL?
>> Pick up that gun, doctor.
>> You get it for this, mister. YOU GET IT.
>> NOW, give me that doll.
>> No. GIVE A DUMMY EYE, SON. I CAN'T.
SHE'LL KNIFE YOU.
>> NO, SHE WON'T.
>> That's better. Now, >> let's get back to Bart, doctor.
>> What about D?
>> He seems to like it out here. We'll let him enjoy it a while longer. Keep his gun >> here. Let me see that doll. I It It looks like Bart Le.
>> Sure. It was Bart Lefay, >> huh?
>> Never mind. Now, let's get back.
You see, Bart, this doll, it it can't harm you now. Things like this can never harm anyone. It's in your mind. Look, I'll unwrap the string from his throat.
You'll be all right.
>> That That thing was doing it to me.
>> No, your mind was doing it, Bar. That's all.
You'll get better now.
>> But But what about you?
>> What about me?
>> Grandma Juno will get you.
>> No, she won't. Bart, believe me, there's nothing in the world like this can hurt you. So, I'll go back home and the worst that can happen will be well, will be my own fault.
>> Sure. Sure. Where's Doris?
>> Oh, I'll send her in when I leave.
>> I I can't thank you rightly, Dan.
>> Yes, you can. Just remember what I told you, Bart. No harm can ever come to you unless you bring it on yourself.
>> Gee, what a nasty looking little doll.
>> It's not pretty. And he actually believed this was killing him.
>> Well, he knows better now.
>> Do you feel all right?
>> Of course. Why?
>> Well, I just hate to think of that terrible old woman sticking pins in you.
>> Oh, not a chance. Not a chance. Well, let me sit down and look at the mail.
>> Mr. Holiday, what's the matter? Oh, >> I I felt as though something stuck me.
>> Mr. holiday. I >> Suzy.
Susy.
>> Oh, my knitting needles.
>> Yeah.
Good night, Susie.
>> Next week, same time, through the courtesy of Paramount Pictures, Alan Lad stars as Dan Holidayiday in Box 13. Box 13 is directed by Richard Sandville.
And so another sleepless journey across America slowly comes to an end. Tonight we traveled from the rain soaked neon streets of Los Angeles to the quiet mountains of Virginia, from the cold midnight overlooks of Denver to the peaceful countryside of Kentucky and finally into the foggy bayou of Louisiana beneath the warm southern night. I hope these old radio stories helped you relax, unwind, or simply escape for a little while into another time and another America. One filled with glowing radios, empty highways, lonely diners, rainy streets, and voices drifting softly through the darkness after midnight. If you enjoyed tonight's special episode of The Sleepless States, consider subscribing to RadioWave Nostalgia for more late night journeys through vintage America.
And before you go, let me know down in the comments which story was your favorite tonight. And wherever you may be listening from tonight, I'd also love to know your state or your country. It's always incredible seeing how far these old stories travel across the world after all these years. Until next time, keep the lights low, keep the radio on, and stay warm out there. This is old Pete signing off into the
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