The FBI In Peace And War and Let George Do It

Summary

Case Closed! Podcast Episode Summary – October 22, 2025

Theme and Purpose:
This episode of Case Closed! from RelicRadio.com features two classic old-time radio crime dramas: "The Gentleman Friend" from The FBI In Peace And War (originally aired August 4, 1954) and "Valley Sunset" from Let George Do It (originally aired September 12, 1949). Both stories explore the human side of crime—one focusing on betrayal and manipulation in a small-town bank heist, the other on family turmoil, hidden motives, and murder in a rural winery.

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Story 1: The FBI in Peace and War – "The Gentleman Friend"

[00:00 – 19:26]

Main Plot

A meticulously planned bank robbery shocks the small town of Westville, New York. Investigators, led by the FBI, unravel how the robber gained detailed knowledge of the bank's routines—and the quiet, unassuming bank employee, Netta Halsey, becomes central to the case.

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Key Discussion Points & Plot Developments

• The Robbery:

  • [01:07] Mr. Banner, posing as an acquaintance seeking a business loan, coerces Mr. Taylor into facilitating a robbery by threatening him at gunpoint.
  • The robbery is described as perfectly timed and executed, netting $86,000 (narration at [01:50]).

• Investigation & Suspicions:

  • The FBI's focus turns to how the robber learned bank routines and who may have unwittingly helped him.
  • Netta Halsey, a long-serving, plain, and overlooked employee, stands out for her unexplained socialization with the suspect, Banner.
  • Significant moments at the Halsey household highlight Netta's loneliness and the teasing she endures (notably from Arthur and Emily) [02:54–05:40].

• Interrogation of Netta Halsey:

  • [07:28–08:41] FBI agents confront Netta about her involvement with Banner. She initially downplays non-business contact, later confessing to attending the theater with him.
  • She admits only to a lunch and the theater, omitting other possible interactions.
  • Banner had given her a gold lapel clip, a significant clue ([08:50]).

• Emotional Unraveling & Escape:

  • At home, Netta breaks down with her sister Emily, confessing her love and belief in Banner’s goodness, despite mounting evidence ([09:18]).
  • Netta decides to run away, calling Banner in New Orleans to meet her ([12:16]).

• Climax & Resolution:

  • The FBI follows Netta to New Orleans, puts her under surveillance, and interrupts her near-suicidal despair, attempting to confront her with Banner’s manipulation ([16:02–17:32]).
  • Banner is eventually apprehended after a failed escape attempt ([18:17]).
  • Banner is sentenced to 15 years. Netta, judged as a victim of manipulation, receives probation ([19:26]).

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Notable Quotes

• Netta, about her situation:

  • "Why is it such a crime to be over 30 and not married?" – Netta Halsey ([05:10])

• FBI Agent's blunt assessment:

  • [07:13] "Plain or not, Mr. Taylor, she did drive into New York with him… If it were one of the other girls, I could understand."

• Banner’s manipulative affection:

  • "Of course I do, baby. Soon as possible. You wait for me." – Ray Banner ([13:35])

• Netta’s realization and surrender:

  • "I planned the whole thing with it. We planned it together." – Netta Halsey ([17:32])

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Memorable Moments with Timestamps

• The tense breakfast scene – [02:54]
  Netta is taunted by Arthur about her potential involvement in the case and her unrequited love.
• Interrogation and exposure – [07:28–08:50]
• Emotional confession to her sister – [09:18]
• Final confrontation and capture – [16:02–18:17]

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Story 2: Let George Do It – "Valley Sunset"

[21:18 – 47:00]

Main Plot

A worried teenage girl, Rachel, feels trapped by her strong-willed family at Valley Sunset Wineries. She fears a deadly confrontation between her uncle Joseph and her brother Demetro. Private investigator George Valentine arrives at her mysterious beckoning and finds himself in the midst of a tangled web involving old-world family tensions, blackmail, and murder.

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Key Discussion Points & Plot Developments

• Mysterious Plea for Help:

  • [21:18] Rachel writes to George, hinting at impending violence within her family and her own helplessness as a "prisoner."
  • The property is introduced as an isolated, stifling place marked by grapevines and secrets ([23:29]).

• The Egadjanek Family:

  • Joseph: The domineering uncle, "the biggest fist that ever threw a 10-gallon cask," deeply attached to traditions, his land, and his poet brother Silvio ([27:16, 28:17])
  • Silvio: The troubled poet, caught between family expectations and his own flaws ([29:22])
  • Demetro: Rachel’s brother, resentful and distant, trained in agriculture
  • Rachel: The intelligent but stifled protagonist, eager to escape the family's emotional prison

• Family Strife & Financial Motives:

  • Joseph clandestinely sells land for $20,000, supposedly to cover up an accident (hit-and-run involving a worker, Sudsy) and hush up blackmail by a roadhouse owner, Ty Wendell ([36:00, 39:03])
  • Tension erupts during a violent altercation between Joseph and Demetro ([32:22])

• The Murder:

  • Ty Wendell is found dead, and suspicion falls on Silvio—who has a tenuous alibi provided through a letter Joseph claims to have mailed as evidence of Silvio's absence ([43:26])

• The Twist:

  • George uncovers that Joseph wrote a fake farewell/confession letter in Silvio's name to protect him ("Joe’s handwriting" – [36:19]), planning to use it as an alibi if needed.
  • Joseph is struck by the reality that his attempts to control and protect Silvio have failed, and the alibi is destroyed ([45:03])

• Resolution:

  • With Silvio’s innocence in doubt, Joseph suffers a stroke. Silvio is left with “no alibi at all” ([45:57]).
  • The episode closes with hope that Rachel can finally live her own life and perhaps redeem her family’s legacy ([46:45]).

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Notable Quotes

• Rachel’s fear and yearning:

  • "It's like when the dust lies on the grapevine so thick you can't tell what's underneath, whether there's ripening fruit or a rattlesnake." – Rachel ([21:40])

• On family and the land:

  • "Music inside of a man who lifts the dirt and tends the vines. This is something to write about." – Joseph ([28:17])

• Joseph’s tragic educator role:

  • "I will make a man of him, a poet of him." – Joseph ([43:00])

• George’s somber verdict:

  • "Just underestimated Joe, that's all. He's dead because he realized he failed you. He loved you, Silvio." – George Valentine ([45:57])

• Rachel's hope:

  • "Maybe I could say some of those things Uncle Joseph thought should be said. The vines and the earth." – Rachel ([46:45])

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Memorable Moments with Timestamps

• Rachel’s evocative letter – [21:18]
• Meet the enigmatic poet uncle Silvio and the controlling patriarch Joseph – [27:02–28:17]
• Discovery of the faked farewell letter and mounting suspicion – [36:00–36:23]
• Family violence erupts – [32:22–32:46]
• The final twist—Joseph’s collapse and Rachel’s bittersweet emancipation – [45:03–47:00]

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Overall Tone and Style

Classic, earnest, and emotionally charged, both dramas combine the slow-building tension and atmosphere particular to golden age radio. Themes of loneliness, misplaced love, manipulation, and the inevitability of consequences permeate both stories. Dialogue is dense, character-driven, and sometimes poetic, as in Rachel’s letters.

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Useful for New Listeners

Listeners new to these stories will find both segments accessible, thrilling, and revealing about American anxieties in the mid-20th century—whether about crime’s impact on ordinary lives or the suffocating secrets inside a close-knit family. The nostalgia and craftsmanship of these radio plays are on full display in this hour of Case Closed!.

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Timeline of Key Segments

• [00:00–19:26] – "The Gentleman Friend," FBI in Peace and War
• [19:26–21:18] – Station break/transition
• [21:18–47:00] – "Valley Sunset," Let George Do It
• [50:17–end] – Host outro/promos (not included in content)

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Host: RelicRadio.com
Episode Date: October 22, 2025
Classic Radio Dramas: Initially aired 1954 (FBI) and 1949 (George Valentine)
For more episodes: www.RelicRadio.com

Transcript

[A]

Welcome back to Case Closed. One hour of mystery and crime from the golden age of radio. Every Wednesday@ Relicradio.com. our first story comes from the FBI in peace and War. This week we'll hear the gentleman friend from August 4, 1954. After that, it's Let George do it and Valley Sunset, his story from September 12, 1949. The FBI in peace and War. Another great story based on Frederick L. Collins copyrighted book, the FBI in Peace and War. Drama, thrills, action. Tonight's story, the gentleman friend. Morning, Mr. Taylor.

[B]

Oh.

[A]

Oh, good morning. I just wondered if you were on your way downtown, Mr. Taylor. My car's not running and I'm having trouble getting a cab this early in the morning. Sure, Mr. Banner. I guess you don't recognize me. I've been over at the bank a couple of times for a business loan on a filling station out in the Long Hill section. Oh, yes, of course, Mr. Banner. Well, hop in. I'll be glad to give you a lift. Thanks a lot. I knew I'd seen your face somewhere. Filling station on Long Hill. I remember now. You took that up with Ms. Lindley in the loan department, didn't you? Yes, that's right. Well, I hope we'll be able to accommodate you. Oh, it'll be necessary. Now, I've got other plans. Oh, that's too bad. Well, if you wanted to discuss the loan with me personally. No, I don't think so, Mr. Taylor. All I want you to do is act as if nothing's happening till we get inside the bank. Then, as soon as the time lock opens on the vault, I want you to tell the cashier to put all the money in his bag. What's. Well, what's the joke, Mr. Bank? No joke, Mr. Taylor. You'll do exactly as I say. I'll use this gun if you make one wrong move. Is that clear, Mr. Taylor? The daring and carefully planned robbery was carried out at the national bank at Westville, New York, on August 12, 1951. With perfect timing and an intimate knowledge of the bank's routine, the loan holdup man succeeded in taking $86,000 in cash. Our Bureau was called into the case and we agreed with the local police that the first question to be answered was, how did the bandit acquire his perfect knowledge of bank routine over a period of weeks? We talked to every employee of the bank on this.

[B]

That you, Annetta? Yes, Emily. Well, for goodness sake, it's about time. What held you up? Oh, Mr. Taylor wanted to see me. The FBI men are coming again tomorrow they're gonna talk to all of us low. Arthur.

[A]

Hi, Netta. Didn't you confess yet, Arthur? Oh, now, you can't tell me she wasn't in on this. But you want my opinion, Netta, that's trying to get a husband the hard way.

[B]

Arthur.

[A]

Oh, now she knows I'm only kidding, don't you, Netta?

[B]

Yes, I. Did you eat yet, Emily? Yes. There's meatloaf in the icebox. We thought we'd make the early movie. I'll do the dishes.

[A]

That's the way we planned it.

[B]

Really, Arthur, why are you being especially obnoxious tonight?

[A]

I just feel good, that's all. You want to see the movie, Nettie?

[B]

No, thank you, Arthur. I'm tired.

[A]

Say, what do those FBI guys ask you when they come around?

[B]

I don't know. Go eat your supper, dear. Arthur's only talking.

[A]

No, no, I'm curious. Now, what good would it do them to talk to you, for instance?

[B]

Well, I handle the papers alone. And he did take me to lunch one afternoon. You told them that? Of course. Last time they were there.

[A]

What was he like?

[B]

Nita, Ms. Bannon. She doesn't want to talk about it, Arthur. Now, let's go if we're going to make the movie.

[A]

Well, they got any clues on him now?

[B]

I don't know, Arthur. You read the papers.

[A]

Oh, the papers don't know anything. The Chronicle says they questioned the guy in New Orleans. They. They don't know anything.

[B]

Get the car out, Arthur. We'll be late.

[A]

Hey, how do you suppose he knew just when the time lock opened on the vault, huh? Now, you shouldn't have told him that, Arthur. Stop it.

[B]

I only had lunch with the man. It was part of my job. I just can't stand this constant teasing. If you want me to get a room of my own, Arthur, I'll be over. Go get the car, okay?

[A]

All right. Now, don't be sore.

[B]

I only came here because you wanted help with the rent. We'd want you without the rent here.

[A]

Sure. Listen, I told Emily. It's no good your own sister living alone in the rooming house. Let her come here and stay with us, Arthur.

[B]

It's a.

[A]

All right, all right, I'm going. But don't be sore, will you, Nettie?

[B]

Emily, I think I ought to go back to Mrs. Simmons and get my old room. You'll do no such thing. Just wish you wouldn't tease me, Emily. I know I'm not pretty. I'll probably never get married. Why is it such a crime to be over 30 and not married. Why, Emily. Nettie, don't talk like that, please. Well, he shouldn't tease me, Emily. I know, honey. I'll speak to him. Even if he doesn't mean anything by it. He won't do it anymore. Anymore? Look, why don't you come to the picture with us? You can have a quick. No, you go ahead. It's Spencer Tracy. You like? You go ahead. I'll be all right. I'll tell you what, Just leave the dishes. I'll do them. Emily, it's no trouble. You got along all right. But I hate lots to do. Now. Don't worry about me. All right. We're back early, dear. Take your time and I'll speak to. That's all right. I guess he didn't mean anything. See you later, dear. Hello, long distance? I'd like to make a station to. Station call to New Orleans, Louisiana. The number is walnut9970. Reverse the charges, will you?

[A]

As our investigator of the Westville robbery continued, it became apparent that the hold up man had spent at least a month in Westville prior to the robbery. And had become friendly with a number of people. One of his friendships interested us more than any of the others. And we talked with the treasurer of the bank, Mr. Taylor, about it. Well, that hardly seems possible. Miss Halsey is. Well, you've seen her. Certainly rather plain, to put it mildly. Plain or not, Mr. Taylor, she did drive into New York with him. And they probably went to the theater that night. Netta Halsey, a manager of the Westville Inn, saw her sitting in Banner's car. And the manager got two tickets to a musical show for Banner. But Netta Halsey, if it were one of the other girls, I could understand. How long has Miss Halsey been at the back, Mr. Tanner? Longer than I have. About 15 years, I'd say. And she certainly has a complete knowledge of the routine. Of course. But you aren't suggesting that Ms. Halsey. We're really saying that she spent more time with Banner than necessary for a business transaction. You may be right. Seems incredible, that's all. Would you like to talk to her alone? No, we'd rather have you stay. Come in. Netta, you know Agent Reynolds and Agent Stevens of the FBI.

[B]

Yes. How do you do?

[A]

We're sorry to bother you so much, Ms. Halsey. But there are one or two questions we like to ask.

[B]

Of course.

[A]

Sit down.

[B]

Thank you.

[A]

Ms. Halsey, did you see Mr. Banner at any time other than the luncheon you told us about. Or the times when he Came here to the bank?

[B]

I don't think so.

[A]

At any time in the evening, Miss Halsey, For a drive or the theater?

[B]

Oh, yes, yes. As I remember, Mr. Banner did invite me to the theater. He said a friend of his gave him two passes to a musical show.

[A]

Did you go?

[B]

Yes, I did.

[A]

Then there were other times you saw Mr. Banner?

[B]

Well, this was. Yes.

[A]

Why didn't you tell us about that when you said you'd had lunch with him?

[B]

Well, I didn't think it was important. And I know Mr. Taylor wouldn't approve if I, well, accepted too many favors from a prospective customer of the bank.

[A]

Those were the only two favors you accepted. The lunch and the theatre.

[B]

As far as I remember you.

[A]

It was only three months ago, Ms. Halsey.

[B]

Yes, I know.

[A]

Is there anything else you'd like to tell us, Miss Halsey?

[B]

No. No, I don't think so.

[A]

All right. That's all we want to ask you for the present.

[B]

Sorry I'm not more helpful.

[A]

That's all right. Thank you, Miss Halsey.

[B]

Yes.

[A]

Gentlemen? I. I can hardly believe it. Then you probably wouldn't believe that Banner bought a solid gold lapel clip at the Simpkins Jewelry Store. The clip that Miss Halsey was wearing. Netta Halsey, I'll ask you not to talk to anyone about this, Mr. Taylor. You can understand why.

[B]

I'm just not going to believe it. Netta, you can't convince. Emily, please don't be loyal and understanding. I can't take. Didn't you know he was a criminal? I just knew we were going to be married, that's all. Nedda. I told you, Emily. He. He needed money desperately. He owed thousands of dollars to those gamblers. Oh, Nettie, can't you see he was just playing on your saber things? He killed him. I know him. Had to have the money. Can't you see that? I can't see you helping him. I didn't know I was helping him. Not at the time. Then why not let me call that FBI agent? No. No, I won't do anything to help them find him. Netta, do you know where he is? I can't tell you that. You do know. Now, Emily, listen to me, please. We were going to be married. Ray is the gentlest, most considerate, the finest man I've ever known. No, he is. He's a thief. A common. Don't you dare say that. Oh, Nettie. Nettie, stop it. Emily, I think even if I'd known what he was going to do, I wouldn't have tried to stop him. You don't mean that. Yes, I do. I. I won't let you judge Ray by ordinary, everyday standards. Nettie, don't talk like that, please. You don't know what he went through. He never got a decent break his own. Stop it, Netta. You're talking about a bank robber. A man who would have killed anyone who got in his way. I just don't know, Ray. Emily, for you wouldn't say that. Hi.

[A]

Anybody home?

[B]

What are you going to tell us? Nothing, Netta.

[A]

Hello, ladies. What's new and interesting? Any murder or mayhem while the old man was away at work? Eh, there's the paper. Don't fight for it. Hey, Netta, don't you want to see the paper? Netta. Where's she going?

[B]

Let her alone, Arthur. She's got a headache.

[A]

Looks like she's been bawling again. Sometimes I can't figure her at all. Can you?

[B]

No. Sometimes I can't. Arthur. She's my own sister. And I can't figure it either.

[A]

The day after we had talked to Netta Halsey. Agent Reynolds was present at a conference in the U.S. attorney's office. It was decided that there was sufficient reason to begin a 24 hour surveillance of Ms. Halsey on the chance that she might still be in communication with Banner. This plan was just a few hours too late. Netta Halsey had left her sister's home early that morning, taking all her possessions with her. Call a man. Carry a bag, ma'? Am?

[B]

No, thank you, but could you tell me where the public phone is, please?

[A]

Right over there, Lamb. Across from the information.

[B]

Thank you.

[A]

You carry your bag?

[B]

Hello? Hello, is this walnut? 9970. Yeah, this is it. I'd like to speak to Ray, please. Ray who? Ray Smith. Never heard of him. He got the wrong number. No, no, no, no, wait, please. I'm sure this is it. Listen, tell him. Tell him Nedda Halsey wants to talk to him. There's nobody you've got to tell him. It's terribly important. That's right.

[A]

Hello? Who is this?

[B]

Hello?

[A]

Who is this?

[B]

Ray, it's me, Nedda.

[A]

Who?

[B]

Netta Halsey.

[A]

Netta, where you calling from?

[B]

Union Station.

[A]

Here in New Orleans?

[B]

Yes. I just got in a few minutes ago.

[A]

Are you out of your mind? I told you I'd let you know when to come.

[B]

Couldn't wait, Ray. I've got to see you. See, I couldn't wait any longer. Things happen. I can't tell you over the phone. When can I see you?

[A]

Where are you going to stay?

[B]

I don't know.

[A]

I'd go to the Royal Palm. I'll send someone there tonight, want to see you. Don't be a fool. I'll send someone to you and they'll talk about it.

[B]

Yes, right. Is that all?

[A]

Yeah, that's all. Netta.

[B]

Yes?

[A]

Nobody knows you're here.

[B]

Of course not.

[A]

All right. You be patient, Netta. I'll see you.

[B]

Do you want to, Ray?

[A]

Of course I do, baby. Soon as possible. You wait for me.

[B]

I will, Ray. Goodbye, darling.

[A]

As soon as we learned that Netta Halsey had left her sister's house. We checked all stations and air terminals. By the following morning, we knew that Netta Halsey had gone to New Orleans. And her description was wired to our field office. An intensive search got underway immediately.

[B]

Yes? Unetta Halsey? That's right. I'm a friend of Ray Banner. Oh, come in, please. Just a minute. I'll get those things off chair. Oh, don't bother. I'm outstanding. I haven't had a chance to straighten up. I just got in this afternoon. I know. I talked to you on the phone. Oh. Oh, you were the one that. Yeah, I'm the one. Friend of Ray's. How is he? He's all right. Look, Ms. Halsey, I'm gonna give you a piece of good advice. Put those clothes in the suitcase and go back where you came from. I came here to see Ray. He can't see you. Believe me, he wouldn't be safe a couple of months from now. I waited four months. You want him to get picked up? How do you know you aren't being followed? I want to see Ray. That's why I came down here. He's going away tonight. I told him not to take me. You told him? Yeah, I told him. Let's see. Now, look. Ray knows it costs you dough to come down here. So he says, you take this 1500 bucks. What do you do, Ray? I already said I'm a friend of his. He's a friend of mine. What do you want, a road map? Now, you take this 1500. But I'm going to see him before I leave here, and I don't want the money. You know, I could get very annoyed with you, sister. I don't care whether you're annoyed or not. You tell Ray that if he doesn't see me, I'll go to the police. I'll give myself up. Your what? I'll give myself up. You know something? He said you were kind of a screwball. He was right. I mean what I say, sister. I think you really do. I don't know how a blowhard like Ray does it, but when he turns on the charm. Can you tell him what I said? Yeah, I think I will tell him. I'll be waiting to hear from him. All right. And I won't wait long. Uh huh. You don't want to change your mind and go back home? I'm never going back home. Okay. You can't say I didn't try. You want to see him, you see him. Not my funeral.

[A]

On Agent Reynolds and I arrived in New Orleans. Nada. Halsey had been located at the Royal Palm Hotel and had been put under 24 hour surveillance. It was obvious that Ms. Halsey was waiting for someone. Every night for a week she had taken a cab to the end of Canal street, then walked along the river embankment. On the seventh night, Agent Reynolds and I were watching from a parked car. Suddenly, Agent Reynolds left the car. As I saw Miss Halsey step up on the embankment and look down at the river. That water's pretty muddy, Ms. Halsey. I wouldn't try it. Come on out. Let's go over and sit down and talk about it. Now. You stink. It's okay, Steve. She's all right. Take it easy, Ms. Halsey. Let's sit down alone. Come on.

[B]

Why didn't you let me alone? Why didn't you mind your own business?

[A]

You're our business, Ms. Halsey. Who are you waiting for? Ray Banner.

[B]

Leave me alone. I'm not going to talk to you.

[A]

Why didn't he meet you, Ms. Halsey? Was he afraid?

[B]

We'll tell you anything? Do whatever you want to. I don't care.

[A]

You've been here every night for a week, Miss Halsey. Didn't you realize he never intended to come?

[B]

He did. Something must have happened. I told you I wouldn't talk to you.

[A]

Ms. Halsley, we talked with your sister for a long time. She thought it was best to tell us everything. Don't you realize that this man used you? He never had any intention of marrying you.

[B]

That's a lie. If he could have paid off his death. If he could have been. Let me alone, will you?

[A]

We don't want to charge you with helping Banner in the robbery, Ms. Halsey. We feel sure you had no intention.

[B]

I planned the whole thing with it. We planned it together.

[A]

Well, that's not true. Room.

[B]

So it is. I did help him.

[A]

How?

[B]

Right? I don't know. Let me alone.

[A]

Have you seen Banner since you got here?

[B]

No. No, I haven't.

[A]

Have you talked to us?

[B]

He's on the phone.

[A]

You know where he is?

[B]

If I did, I wouldn't be here waiting, would I?

[A]

We're trying to help you, Ms. Hall.

[B]

I don't want your help. You'd let me alone. I wouldn't have needed anybody's help, ever.

[A]

It's never as bad as it seems. The time.

[B]

Oh, stop talking like that and take me in. Get it over. Whatever you're going to do.

[A]

We're going to take you downtown.

[B]

All right, I'm ready.

[A]

Just one question, Ms. Halsey. What day this week? Dave? Yeah. Getting out of the cab. Down there in the parking area. Huh? Get her out of the way. Okay. Come along, Miss Halsey. Over there by the ferry ship. Right. Shut her up, Ray. A policeman.

[B]

Fade it out.

[A]

Better or I'll shoot. Get down.

[B]

Get down.

[A]

You want to get hit?

[B]

Down. Let go. Leo. I want to see him.

[A]

We'll stay here.

[B]

I knew he'd come to see me. That's why I waited. I knew he'd be here sometime.

[A]

With overwhelming evidence against him. Ray Banner pleaded guilty to the robbery of the Westville national bank and was sentenced to 15 years in prison. The case of Netta Halsey aroused national interest and her sympathetic lawyer convinced the jury that Ms. Halsey was not an accessory to the crime. For her part in protecting Banner after the robbery, she was put on a two year term of probation. Our books are closed on the gentleman friend. We pause now for station identification. Standard of California, on behalf of independent Chevron gas stations and standard stations throughout the west, invites you to let George do it. Valley Sunset. Another adventure of George Valentine. Personal notice changes my stock and trade. If you worry about your life, but worry even more about your death. You got a job for me? George Valentine. Write full details.

[B]

Dear Mr. Valentine, I mustn't let anyone know that I'm writing to you. But they're all busy repairing one of the winery trucks tonight. And I've sneaked off to the safety of my childhood dollhouse. They say that some people can feel death like dogs can, or coyotes. Well, I know that my uncle will die sooner or later. But what if my own brother should kill him? Or if he should kill my brother? Mr. Valentine. It's like when the dust lies on the grapevine so thick you can't tell what's underneath, whether there's ripening fruit or a rattlesnake. But there is something horrible that I can't find out alone. Because, after all, I am only a prisoner in this strange world. And it's signed, Rachel.

[A]

Any address Booksie? Yeah.

[B]

Well, let's see. It's on the back with the. With a little map. The closest city is Fresno, I guess. 60 or 70 miles care of Valley Sunset Wineries.

[A]

Because after all, I am only a prisoner in the strange world. Valley Sunset. Sunset. Valley Sunset. What do you expect out of Hades, my friend? Road signs? Hades. Sure, sure. Whose hinges it is hotter than? Look, I'm sorry I flagged you down, but. But why? I'm happy. I noticed you were carrying very valuable freight. What's that? Hello, goddess. Oh.

[B]

Oh, hello.

[A]

On a day like today, you look better than a cold beer.

[B]

Yes, well, get your foot off the brass rail.

[A]

What's the matter? Haven't I got time to say any more before your boyfriend hits me? Okay, okay, smart boy. Just cool off and tell us where we are, huh? The world. United States. Heaven Valley, Sunset.

[B]

What?

[A]

The Gartenik property. You've been on it for the last five miles.

[B]

Yeah, but we haven't seen the winery or the ranch house or.

[A]

You won't for another five miles straight ahead. Oh, I see. A small type farm. Yes, indeed. The kingdom of Limbo. Irrigated by the sweat of man. Dedicated to the sweat of the grain.

[B]

Do you ever make sense?

[A]

But of course not. I'm a poet. My name is Agenik. Mr. Egadjnek. It's a common name. Lots of us around.

[B]

Mr. Egagnek, aren't there any muses right here on your ranch?

[A]

Women? Yes, yes, exactly one, dear lady. The beautiful Rachel. Rachel? The romantic type too. Your sister? No, no indeed. Niece. But I'll tell you a tragic secret. My friend Rachel is only 14 years old.

[B]

My childhood has passed me, Mr. Valentine. I'm not like other girls. I had to make you think I was a woman to get you here. I had to make you realize my awful plight.

[A]

Yes, you're awful polite. Now look, Rachel. You said you were a prisoner. What do we find? You live in a beautiful house. You've got one of the finest record collections I've ever seen.

[B]

But nobody comes to.

[A]

The house you have on is at least Saks Fifth Avenue.

[B]

But I don't like the color. I didn't pick it out. It isn't proper for a girl my age. Who says so? That's the way it was in his old country, I guess. He picks out everything for everybody. Joseph, the oldest, the head of the family.

[A]

The old fashioned patriarch, huh?

[B]

My uncle, Mr. Valentine. You're. Now don't tell me Joseph has black hair and is tall and has a crooked smile. No, no, no, that's my uncle Silvio. Egad.

[A]

Wouldn't you know the poet.

[B]

He is a poet. Or at least he had a poem published once. Uncle Joseph is awfully proud of him. Yeah, well, Rachel, Sylvia does lots of things. He doesn't waste his time on the farm. And you know, he's the only one who ever pays any attention to me. He's a romantic kind of person. Sort of exciting, don't you think?

[A]

Yeah. Now, look, you said your uncle was going to kill your brother, or vice versa.

[B]

Uncle Joseph and my brother Demetra.

[A]

But you haven't seen.

[B]

And Dimitro's different too. He never talks. He just works and he hates. And he went to agricultural college.

[A]

Hey, what? Oh, never mind.

[B]

Why?

[A]

Why? What's happened that makes you think all this?

[B]

The way they've looked at each other the past few days. Demetro and Joseph and poor Silvio. It's nothing definite, Mr. Valentine, but I feel it.

[A]

Wait. Look.

[B]

And it feels horrible. It does. I'm not inventing it. I'm not lying. I don't want it to be there, like my music. Mr. Valentine, that record was Debussy. And it's wonderful. I love it. But I don't want to. Now, listen. This is the only record like this I've got. I want to go swimming in the irrigation ditches like the other kids around here do. I want to see a football game at the Union High School. I want to be like the other children.

[A]

Rachel.

[B]

Joseph, no. Don't. Uncle Joseph, please. Please don't.

[A]

It is not good music, Uncle. You know it yourself. Rachel, now stop sounding like a circus organ in the rainstorm.

[B]

I can't say that I blame her, mister.

[A]

Young ladies are not talking to strangers. And strangers are not talking to young ladies. Now get out of here, Rachel. Get out.

[B]

All right, Uncle. Yes.

[A]

There is a good pigeon. So you're Joe Organjaniga. Yeah, the big boss. The big fist. The biggest fist that ever threw a 10 gallon cask. Who are you? The name you talked to the girl. Why? Take it easy, Marty. Joe, just relax. We're here asking questions because. Well, I'm a writer. You're a wild. Yeah, sure. That's it. I'm interested in wineries, that's all. Joy got you like a fool. No, a writer, eh? A real writer. Well, I'm just a Valley Sunset has never been honored before. Mr. Valentine, this is Ms. Brooks. Forgive my overalls. So much dirt in the hands is bad. Dirt in the eyes is worse. But a little dirt in the soul is good. Eh? Don't you think?

[B]

Come again.

[A]

There is music, Mr. Valentine. Music inside of a man who lifts the dirt and tends the vines. This is something to write about. Yeah, I can imagine. I will show you the poem. I will show you the poem in the magazine of my boy, my own boy.

[B]

Your boy?

[A]

Silvio. My baby brother. Yes, my baby brother I raised from a baby. These others, they were in name, but they are nothing. What's the matter? You think I am crazy old farmer? Oh, no, I don't, you know. Then you stay. You will visit the Valley Sunset. You sure we wouldn't be in the way, Joe? You sure there's nothing else special going on? What is important in life, Mr. Valentine? Death. No, no, no beauty. Who cares about anything else. You will stay, huh? Mr. Eganzinecki couldn't keep us away. But the first one thing to show you the poem here. My Silvio's poem. You can tell me. You are a writer.

[B]

Let me see it, George.

[A]

He has had everything. Silvio. There must be someone to say these things that I feel. That the earth feels nuts. I'll show you how the earth feels. Hey, what up, Silvio? Let me smell your breath. Oh, dry up, grandmother. I just don't want them to know how bad it is, that's all.

[B]

Well, you don't have to.

[A]

Yes, yes, I do. Yes, I do. Goddess, I do. It stinks. I'm smart enough to know that. But I'm also smart enough to be pretty good at cards and pretty good at women. And pretty good. No, no, please, Silvio. Excuse him. Excuse me, Excuse me. Why should anybody excuse me. Who excuses you? Do you know what this old woman did this morning, Mr. Valentine? He fixed it so I can't leave it. Be quiet, be quiet. Young people must be guarded from trouble. Trouble, trouble. That's the funny part, Mr. Valentine. It's he who's in trouble. Sylvia. Sure, sure. The little man is out there now, big brother. He's waiting in his car to see you. Why did not you say so? Excuse me. Look at the lion run. Look at him. And oh, for a man not five feet tall, without any hair and a pale freckled face. Suppose you clear that up, buster. Who is the little man? What's going on here? What kind of trouble is Joe in? How should I know, Ryder? I'm just baby brother. I don't know any little man who carries a gun. Hey, look, your name is Dimitro, isn't it? Yes, of course, Mr. Valentine, but I'm busy right now. My uncle goes to town on Mondays and I've Got to see him first. Joseph.

[B]

Well, I think he's talking to some man outside.

[A]

I don't care. I've got to see him first. Well, it's just. It's Silvio. Suggest. Silvio's a loafer. He doesn't know a wine vat from a pickle barrel. Only why don't you two tell the truth? You're not interested in wineries. You're interested in us. Look, all we want. Sure, sure. I know you're friends of Rachel's. Okay. Well, I'm not afraid to tell you what's going on. Joe sold some property. Oh, well, what's that got family property. It belongs to all of us. It's like selling a hand. Only a few days ago, Joe goes out on the QT to raise himself 20,000 bucks. Get back to the fields. Get back out to the fields where you belong. Now wait a minute. I am head of this family. You will do what Joe said. And I wanted to ask you. I do not have to explain to you anything. It is my family. Mine. One of the boys was cleaning your car up. There's dried blood on its head. Hey, cut it out. I'll try.

[B]

Stop him. The George will kill him. Oh, here.

[A]

Get off. You crazy fool. You kill him. Stop him.

[B]

Stop him. Uncle Joe.

[A]

Rachel, get out of here.

[B]

Uncle, he's gone. He's gone.

[A]

Get out of here, pigeon. This is no place. What's up, boy? What did you say, kid? What's the matter?

[B]

He's gone. Mr. Valentine, it's Sylv. He's run away.

[A]

No, no, Silvio can't go. He knows what will happen. It was fixed, so he can't run away. No, he hasn't. Silvio.

[B]

Silvio.

[A]

Where are you?

[B]

Silvio?

[A]

Foreign to tonight's adventure of George Valentine in just a moment. If you spent a little more money than you planned on for your summer vacation, you may want to tighten up the family budget. So let me tell you how RPM motor oil helps you economize. It's as simple as this. Engineers have proved that 80% of internal engine wear starts when your car is standing idle. It's the result of acid laden moisture forming on cylinder walls the moment you cut the ignition. But the cause of this 80% of wear, known as internal engine rust, never even gets started when you use rpm. This premium quality motor oil contains an adhering agent, one of several compounds added to rpm. Because it's compounded, RPM keeps a moisture proof oil film on cylinder walls and other vital parts. Puts a stop to that high cost. Corrosive wear no wonder RPM is so popular. In fact, it's first choice in the west. Depend on RPM, the oil that stops 80% of engine wear. Get RPM at standard stations and at independent Chevron gas stations where they say and mean we take better care of your car. Now back to tonight's adventure of George Valentine Valley Sunset, where the heat and dust of September stretch for miles and miles over the vineyards of Joe Gagnec. You call yourself a visiting curious writer but you still have a hard time finding out about the strange old fashioned family that lives there. The egogenex whose apparent love of the soil is only exceeded by their hatred of each other. Well, Brooksie, the big boys left for Fresno. What? Yeah, Joseph. Business at the bank or something. Goes every Monday. So we can look around his room all we want.

[B]

Well, George, how's Demetro?

[A]

Oh, no bones broken or anything after that beating he took.

[B]

Well, what was the matter with Joseph? He was insane.

[A]

Oh, no, angel. But the big guy's so upset he doesn't know what he's doing.

[B]

See, George, what I found in the wastebasket, it says Dear Joe.

[A]

Let me see.

[B]

George. It's a goodbye note from Sylvia.

[A]

Yeah. Dear Joe, So long, big brother. You'll never see me again. I've taken the $500 emergency payroll money you keep in your desk. You will never see it again either. Signed Silvio.

[B]

Well, so he stole some money before he went. But it's only $500. And it doesn't tell us about.

[A]

No, no, no, Brooksy, wait. Look at that note again. The wording, the crude sentences misspelling Joe. Yeah, yeah. Look on this other stuff. Old invoices and the ledgers are same. It's all the same handwriting.

[B]

Angel Joe's handwriting.

[A]

Yeah, he wrote that farewell note to himself.

[B]

But why?

[A]

Think about it, Brooksy. It's just possible that the light is finally rising on Valley sunset. Mr. Simpson, you represent the law in this country. And fried blood on offender could mean hit and run, couldn't it, Mr. Valentine? A hired hand, name of Sudsy, was wandering around on the highway. Didn't know what hit him. Didn't you check around? Sheriff would have, but up comes Joe Gag says it must have been him remembered hitting something. Okay, okay. So Joe, a gadget hit a guy named Sudsy. That's all there was to it. Was there any trouble? Any charges preferred? Why should there be? Everybody knows Joe. Oh, maybe he paid the hospital bills and bought Sudsy a few cigars. We kept it quiet. Few cigars? Would all that cost as much as $20,000? $20,000. All right, then, try this one. Is Sudsy by any chance, a little guy, not five feet tall, without any hair and a pale freckled face? A little man who might carry a gun? No. Oh, Mr. Simpson, you're a well of information. Take it easy, take it easy. Who works for him though, huh? Ty Wendell's the little guy. Guy? Sudsy works for Ty Wendell, huh? But he's got a permit for the gun. Owns a little roadhouse out here to shake the yokels. Nice guy. You don't like him? Oh, I knock over his slot machines once a month. Best I've ever been able to do. Why? Got any ideas? Slap machine. How's your luck? Three lemons. Oh, well, Mr. Wendell. Hey, Mr. Wendell, I went to work. Three lemons for you too, huh?

[B]

But didn't you see anyone, George?

[A]

Oh, no, no, I didn't. But angel, the guy's pockets were inside out. His wallet was missing, only still had on his watch and a diamond ring.

[B]

Well, George, Ty Wendell had lots of enemies who might have.

[A]

Sure, sure. And I hope that's just the way it is. But I can't help remembering that lots of people wouldn't be knowing about a certain $20,000.

[B]

Oh, yeah.

[A]

I don't want to talk to Simpson until I know where that dough is, what it was for. Because if things are what they seem to be, then the murderer was figuring on a perfect crime. And Brooksie, there's only one way to break it.

[B]

Oh, George.

[A]

Yeah, it's to break a. Hello, Joe. I've been waiting for you. Is he home, Mr. Valentine? Has he come home, Silvio? No. But this car here on the drive. Is that Mr. Simpson? Ah, yeah, yeah. He just stopped by for a visit, that's all. You're pretty late getting back from Fresno. I stop on the road and talk to a friend. Uh huh. I guess you're pretty used to seeing the sheriff's car around here, aren't you? Why not? Valley Sunset is a small world. I guess you're used to seeing lots of police cars. Mr. Valentine, please, I am very tired. I guess your brother is almost always in trouble, isn't he? Please, Please, no. Now listen to me, Joe. A week ago, a guy named Sudsy was smacked on the road. It was hit and run until you showed up to take the blame for it, to hush it up. Get away from that door. But you don't drink. You're not careless. You would have known what you hit. It was Sylvia, wasn't it? He was the one who could have been nailed for drunk and reckless. Hit, run, prison, everything else. I'm going. I said listen to me. I just wanted to know one thing. Joe. Did the guy, Suds, he worked for, figure it out? Ty Wendell, He's a crook anyway, Joe, did he come around to you to ask for blackmail for $20,000? Mr. Valentine, I gave Ty Wendell his cash this morning. I was afraid it was that way. It was the only way. But selling some vineyards to raise the money, like my arm. Piece of my soul. Yeah. That's why you finally got tough with the boy, isn't it? You said you fixed it so Sylvia couldn't run away. How else could I make something with such clay? The boy will come back, Mr. Valentine. You will see. Joe Ogachenik will make a man of him, A poet of him. The things I cannot express. My baby Holechow. The way you fixed it. I read that letter you wrote to yourself in your wastebasker. Of course, I must show Silvio the words that I wanted. The words for him to write. Wait a minute. You made him write a letter just like it. He confessed to a crime he did not commit. To stealing money from my desk. So anytime he decided to leave, he could also bring him back. By mailing his letter to yourself, Showing it to the police so they'd be your bloodhounds. He knew I would do it. Joe does not lie. He knew I would mail it from Fresno. Yeah, but did you mail it? I do not lie. The first thing this afternoon. By special delivery. First thing this afternoon. And a guy can't be in two places at once. So nobody'd ever suspect Silvio. Joe can raise fines. Joe will protect his baby. Look, you gotta understand something, Joe. You gotta understand it before tomorrow morning when that mailman comes. There's a time when things happen you can't protect him from. You can't use that letter. You are a fool. A fool. The world is a fool. I got the letter. What? The man I talked to on the road, the special delivery. He has given me the letter already. Joe worked fast. He takes care of his baby. Joe. Uncle, Sheriff Simpson's inside asking questions. He wants to know where you were early this afternoon. He wants to know where Silvio was early this afternoon, huh? Why does he ask about Silvio Demetrius? Don't tell him. He's out of his mind. Don't tell him yet. What about early this afternoon? Take that easy. He's just asking questions, that's all. Ty Wendell has been murdered. I. This afternoon.

[B]

No.

[A]

No, no. Not my Silvio. Not my baby Silvio. Joe will Take care of you, Joe. Bad penny's home again, huh, Silvio? Sure, Mr. Valentine. Hello, goddess. They located me in San Francisco with the bad news. Yeah, yeah, Too bad, this joke he had. Joe was pretty rough on people, though. You talked to Mr. Simpson yet? No, no, but I will. Ty Wendell got us.

[B]

That's right. Early yesterday afternoon.

[A]

Yeah, well, that's the way it goes. I thought I'd better tell you something before you talk to Simpson. Your brother mentioned he'd given Wendell somebody, something like $20,000 in cash. You see, I found the body. The money wasn't on Wendell. Oh. Oh, I get it. Motive, robbery.

[B]

Well, we had a funny thought that probably nobody knew about that money except Joe and maybe you.

[A]

Oh, did you? Well, it's just a thought. A guy who wanted to leave Valley Sunset but could never squeeze enough dough out of his brother might have been tempted by 20,000. Well, it just shows how funny thoughts can be, doesn't it? Well, I'll. I'll go down and talk to Simpson as soon as I do a little straightening up.

[B]

You mean looking around, don't you?

[A]

Like for a letter, maybe? Yeah, maybe. I know there is one someplace in Joe's coat prop. How do you know? Mailman happened to mention it. He'd given it to Joel last night.

[B]

Happened to mention it. What did you do, check with him on the phone before you flew back?

[A]

Worth doing, I guess. Make a perfect alibi. That letter. Look. What's all this? To you? Writer, that is. It would if you could find it. What? You haven't got that letter, have you? You didn't take it off it, Joe, why do you think your brother had that stroke? What? What do you mean? Where's that letter? I've got to have it. I've got to have it. Just underestimate it, Joe, that's all. He's dead because he realized he failed you. He loved you, Silvio. And last night, even before I met him, he'd already torn that letter up. No, I don't believe it.

[B]

I don't believe that.

[A]

You have no alibi, baby. No alibi at all.

[B]

When the dust lies on the grapevine so thick you can't tell what's underneath Whether there's ripening fruit or a rattlesnake asleep in the hot shade.

[A]

Hey, Rachel. Look, kid, snap out of it, will you? We gotta leave you now.

[B]

I'm all right, Mr. Valentine. I've got. Of course you are, Rachel. Now you'll do all the things you want to. Swim in the irrigation ditches and go to the Football game. Poetic, isn't it?

[A]

Huh?

[B]

What I mean is maybe I could say some of those things Uncle Joseph thought should be said. The vines and the earth.

[A]

Rachel, I think he can do it.

[B]

Demetra will take care of the vines.

[A]

Poetry, beauty and grapes. You know, Angel, I think Joe is going to have the kind of monument he'd like. What's the weather going to be like tomorrow? Now there's a frequent household question. And curiously enough, it's a question that Standard of California asks nearly every day in the year. They want to know what the weather's going to be like in your locality tomorrow and months from tomorrow. It's all part of making Chevron Supreme Gasoline a climate tailored fuel for your car. Yes, this premium quality gasoline is specially blended for the different altitude and temperature zones throughout the West. And it's also tailored according to the season. That means the year round. And wherever you drive in the west, you can be sure of your car's peak performance under every driving condition. Try a tank full of Chevron Supreme Gasoline tomorrow. You'll notice right away how its ping free power gives faster starts, faster pickup in traffic and smoother power on hills. You can't buy a better gasoline for today's high compression engines. Get Chevron supreme at independent Chevron gas stations and Standard stations where they say and mean we take better care of your car. Now, ladies and gentlemen, here is Robert Bailey. This year's nationwide polio epidemic is the most disastrous in our history. Money set aside to pay for care of victims is being used up at the rate of $100,000 a day. Without your help, this fund will be exhausted in two weeks. So help America's children today. Send your dimes and dollars to polio care of your post office. Tonight's adventure of George Valentine has been brought to you by Standard of California on behalf of Independence, independent Chevron gas stations and Standard stations throughout the West. Robert Bailey has starred as George with Francis Robinson as Brooksie. Let George do it is written by David Victor and Jackson Gillis and directed by Don Clark. Also heard in the cast were Jane Webb as Rachel, Bill Conrad as Joe, Tony Barrett as Silvio, Joe Duvall as Simpson and Clayton Post as Demetro. The music is composed and presented by Eddie Dunsteader, your announcer, John Hen. Listen again next week, same time, same station to Let George Do It. This is the Mutual Don Lee Broadcasting System.

[B]

Foreign.

[A]

There'S more from the FBI in peace and more. Let George do it case closed and all of the Relic radio podcasts@ Relicradio.com. you'll find our shoutcast stream there as well with even more Old Time Radio. There's a lot to listen to there, all made possible by your support. If you'd like to help out, visit donate relic radio.com or click on one of the links on the website. Your support makes it all happen. Thanks to those who have helped out over the years. Thanks for joining me this week. I'll be back again next Wednesday with another hour of Case Closed.