Hitchhiking Corpse - Inner Sanctum

Summary

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Podcast Summary: “Hitchhiking Corpse” – Inner Sanctum

Podcast: Old Time Radio Stories | Old Time Radio
Host: Old Time Retro Radio
Date: July 29, 2026
Episode: Inner Sanctum – “Hitchhiking Corpse”

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Main Theme

This classic episode from the legendary Inner Sanctum series weaves a chilling tale of a truck driver haunted by a mysterious hitchhiker. It beautifully blends old-world superstition, gothic horror, and surreal psychological suspense, all anchored by the eerie, wisecracking narrator. The story follows Sean O'Hara, a lonely trucker who picks up a strange woman named Eileen at Moon Hollow, only to find himself spiraling into a world of ghosts, cursed family secrets, and the line between the living and the dead. The mood is atmospheric, drawing listeners into both folklore and madness.

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Key Segments & Discussion Points

1. Invitation to the Inner Sanctum

[01:07] Host/Narrator:

• The host (“your friend of the creaking Door”) welcomes listeners and sets up the tone with a macabre sense of humor.
• “The favorite game's called a tiscuit, a casket. But the game we play best is called Revival. Oh, it's wonderful. You pass out and we try to revive you. If we don't, you don't.” (01:18)

2. Sean’s Haunted Encounters

[02:11]—[05:47] Sean O’Hara & Eileen

• Sean describes the eerie scene at Moon Hollow where he repeatedly sees Eileen standing on a bridge – sometimes with her head, sometimes without.
• He’s unsure whether it’s a dream, hallucination, or something supernatural.
• Eileen only he can see her, and she cryptically claims she’ll ride with him to Madoc County “someday.”

Notable quote:

• Eileen: “Only you can see me, Sean.” (03:30)
• Sean: “With your hair like it is and your face. Just one name suits. Only one name. Eileen.” (03:59)
• Eileen mentions a house “without windows...with my people sitting round it, the living and the dead.” (04:38)

3. The Blood and the Dream

[05:57]—[08:19]

• After dropping Eileen, Sean dreams of her leaning over him, her face streaked with blood.
• Sean awakens with a nosebleed, blurring the line between nightmare and reality.
• Morgan, a local, dismisses it: “With a blood all over your shirt… you gave yourself a nosebleed in your sleep. And that, my boy, was no dream.” (08:19)

4. The Coffins and the Companion

[08:42]—[09:46]

• A mysterious load: Sean's companion discovers three pinewood coffins in the truck.
• The companion accuses Sean of taking jobs for the enigmatic “Red Headed Witch of Moon Hollow”—the legend of Eileen surfaces.
• “Quit lying to me, O’Hara, and to yourself. The coffins aren’t empty, O’Hara.” (09:39)

5. The Legend of the Red-Headed Witch

[10:09]—[11:18]

• Companion clarifies the legend: Eileen (or “Katie” to past truckers) lures drivers into transporting the dead toward Madoc County.
• “She was Katie to a trucker named Conway… what she’s really out to do is drive you crazy.” (10:39)
• The advice: always pass the redhead by, “jam your accelerator to the floorboard and go past her at 80.” (11:12)

6. The Old Mill House

[11:18]—[13:04]

• Sean delivers one coffin to the old mill house by the waterfalls—finds only a skeleton inside.
• The scene is overpowering: “The flying dust could blind a man so he’d only see what his tipsy imagination would want him to see. I saw Eileen. Eileen standing before me with her arms out. Like a thin shadow.” (13:02)
• Eileen’s spectral command: “Go bring the caskets, Sean. Go bring the dead.” (13:04)

7. The Firehouse Dance and the Unmasking

[14:26]—[19:21]

• A mysterious shoebox left for Sean contains coins and tickets to a costume party.
• At the firehouse party, Eileen is masked and costumed; there’s an eerie, dreamlike unmasking at midnight.
• Sean is urged to “take [her grandmother] to Madoc County… the old mill house,” setting up a final journey for the family of the dead.

Memorable exchange:

• Eileen: “You too will sit at the long table in the great hall of the dead. You will sit beside me.” (16:54)
• Sean: “Alive, is it to be? Or dead?”
• Eileen: “Dead, Sean, like us.” (17:07)

8. The Final Ride – And The Twist

[20:08]—[22:34]

• Sean drives grandmother’s casket to Madoc County.
• He tries to resist picking Eileen up, flooring the accelerator, but she appears beside him anyway, “without her head.”
• After a convulsive, surreal sequence, Morgan and others find Sean:
  • “You ran over her on the bridge down in Moon Hollow last night. A 20 ton truck, O’Hara. Her head was severed.” (21:53)
  • Sean, no longer in his right mind, brings authorities to the mill, presenting the bodies arranged at the table.

9. The Grim Conclusion

[23:01]—[24:07]

• Morgan: “You couldn’t be in your right mind, man.”
• Sean admits: “No, I couldn’t be... I’m the one to admit I’m not in my right mind to sit here beside Eileen.”
• In the final moments, Sean appears to die, his heart simply stopping as Eileen predicted.

Notable ending:

• Morgan: “Just like that.”
• Sean: “Sheriff, O’Hara’s heart just stopped.”
• Morgan: “As if he willed it to stop.” (24:01–24:07)

10. Host’s Morbid Parting Joke

[24:20] Narrator/Host:

• The host closes with a sardonic warning:
  • “Now that O’Hara’s given up the ghost, there’s a job open, somebody. As a special inducement to insanity, a pretty girl goes along with every trap. …I can’t tell you which of the two jobs is the more harrowing. Moral: For any motorist who runs across Eileen, give her the go-by, Bob, or she’ll get you is dead mileage.” (24:20)

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Notable Quotes & Memorable Moments

• Eileen (to Sean): “Only you can see me, Sean.” (03:30)
• Sean (to Eileen): “With your hair like it is and your face. Just one name suits. Only one name. Eileen.” (03:59)
• Morgan (chiding Sean): “With a blood all over your shirt… you gave yourself a nosebleed in your sleep. And that, my boy, was no dream.” (08:19)
• Companion (warning Sean): “Quit lying to me, O’Hara, and to yourself. The coffins aren’t empty, O’Hara.” (09:39)
• Legend advice: “From now on, pass the redhead up, jam your accelerator to the floorboard and go past her at 80.” (11:12)
• Eileen (prophecy): “You too will sit at the long table in the great hall of the dead. You will sit beside me.” (16:54)
• Morgan (on Sean’s demise): “Just like that…it’s as if he willed it to stop.” (24:01–24:07)
• Host’s closing warning: “For any motorist who runs across Eileen, give her the go by Bob, or she’ll get you is dead mileage.” (24:20)

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Structurally Important Timestamps

• 01:07 – Eerie host introduction
• 02:11 – Sean’s first encounter with Eileen
• 05:57 – The nightmare and aftermath
• 08:47 – Discovery of the coffins
• 10:09 – The legend explained
• 11:18 – The old mill house revealed
• 13:04 – Eileen’s ghoulish command
• 16:54 – Eileen’s prophecy for Sean
• 20:08 – The drive with the dead
• 21:53 – The aftermath and grisly revelations
• 23:01 – Sean’s breakdown and death
• 24:20 – Host’s “dead mileage” joke and final warning

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Atmosphere and Style

The language throughout is poetic, colloquial, and eerie—heavy with Celtic undertones and dark folklore, punctuated by the trademark grim humor of the Inner Sanctum host. The episode teases the audience with the blurred edges between the natural and the supernatural, building relentlessly to its tragic, fateful end.

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Summary for New Listeners

“Hitchhiking Corpse” is a quintessential morsel of vintage radio horror, blending gothic Americana and supernatural suspense. Driven by a haunted, unreliable narrator, the listener rides shotgun through a psychological ghost story where every shadow might hide the dead—and every warning comes too late. It’s a must-listen for those who savor the macabre elegance and audio chills of classic radio drama.

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Transcript

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[Narrator/Host]

Good evening, friends of the creaking Door. This is your host inviting you into the inner sanctum. Come in. Come on in. Oh, come on. We love company. Simply can't do enough to them. We've got lots of games custom designed for our guests. They have Simply Slave. The favorite's called a tiscuit. A casket. But the game we play best is called Revival. Oh, it's wonderful. You pass out and we try to revive you. If we don't, you don't. And now for our eerie spell, the hitchhiking corpse. Climb up on the driver, Steve. Sit close to the driver. Sean o', Hara, a bewitched man with deep set eyes. Hear what he has to tell about the beautiful corpse of Madoc County. The girl who lost her head over him.

[Sean O'Hara]

Eileen. The last time I saw her, she was standing where she always waits for me. The rain on a little white bridge where the road takes a bend around Moon Hollow. I could hear her call for me to stop. But I wasn't going to stop for her. Not anymore. My mind was made up to that. And then a lightning flash burned over her like a million lighted candles. And she was standing there where she always waited for me. Without her head. Eileen had lost her head. Am I right? In my mind now I'm wondering. These things I know. These things that I saw. Was it a dream? A man's imagination gets tipsy when he drives a great silver van 400 miles. In the loneliness of the night, Eileen the first time I saw her, she was standing where she stood the last time. On a little white bridge near Moon Hollow. Climb in, miss. Ah, yeah. Sit deep in your seat with your head low. It's a black mark in the book for me. If the company inspectors see you riding in the cab, I'll be docked.

[Eileen]

They won't see me. Only you can see me, son.

[Sean O'Hara]

Only I can. Why you're calling me by name?

[Eileen]

No, I'm making up a name for you.

[Sean O'Hara]

But it is my name. Sean. Sean o'.

[Morgan]

Hara.

[Sean O'Hara]

It's an uncanny bit of making up you just did, miss.

[Eileen]

Try, Sean. If you try, you too can do an uncanny bit of making up.

[Sean O'Hara]

With your hair like it is and your face. Just one name suits. Only one name.

[Eileen]

And my name.

[Sean O'Hara]

Eileen.

[Eileen's Grandmother]

I am Eileen.

[Sean O'Hara]

And just where are you riding to?

[Eileen]

To Madock County. But someday, not tonight.

[Sean O'Hara]

Maiduck county is a good 80 mile ride from Moon Hollow. Is it someday, I heard you say.

[Eileen]

Yes. Someday I'll be riding to Madoc county. And it will be you who will take me there.

[Sean O'Hara]

There's little to that. I always pass through Madoc. It's on my route.

[Eileen]

My people came from up there. It's big house. We once had. A great big house without windows.

[Sean O'Hara]

Without windows, you say?

[Eileen]

There is a great hall and a great long table with my people sitting round it. The living and the dead.

[Sean O'Hara]

The living and a house without windows. And now it's the living and the dead. You're a pretty one. But you're as batty as a loon.

[Eileen]

Am I really a pretty one to you, Sean?

[Sean O'Hara]

Sure. Pretty hair. Eyes to light up a man's dream. Dainty little hands. The two of them fit into one of mine. The face.

[Eileen]

A face, Sean.

[Sean O'Hara]

No. The face I cannot praise.

[Eileen]

Why not?

[Sean O'Hara]

With all the war paint on it. If. If I didn't bite my tongue, I might say that what I see smeared over your cheeks. His. His blood.

[Eileen]

Don't bite your tongue, Sean.

[Sean O'Hara]

You're getting out. Trust Sha har to pick up a gibbering farm girl who smears her face with chicken blood. Good night to you.

[Eileen]

Good night, Sean. I'll be waiting again tomorrow night at Moon Hollow. I'll be watching for you.

[Sean O'Hara]

I watched her go sailing off in the mists as high as my eyes could go. I could see her riding into the sky like. Like a night witch. And then blowing into the smoke of the moon. There had to know, Eileen. I dreamed her up in my fat head. A man's imagination gets tipsy when he drives a great silver Band in the loneliness of the. Away. Up I pulled into the yard behind old Morgan's diner to sleep the night from 2 to 6. Curled up on my cab like I always did. I'm a hearty man and a steady sleeper, not given to dreaming. But this night, bad luck to me. I dreamed. She was leaning over me. Eileen with the moon in her eyes. And now the blood was wet on her cheeks and running down in big red beads to splash my shirt.

[Eileen]

The old mill house in Medoc where the water falls in Medoc.

[Sean O'Hara]

The old mill house in Medoc where the water falls.

[Eileen]

The old mill house in Medoc where the water followed me. You must see that the dead.

[Sean O'Hara]

See that the dead. Eileen. Eileen.

[Truck Driver/Companion]

Eileen.

[Sean O'Hara]

If there was no Eileen, I'd been dreaming. Dreaming. But the radio was playing loud enough to wake the dead. The dreaming man doesn't trust on the radio. Eileen.

[Morgan]

You always wake up like a war in line.

[Truck Driver/Companion]

What?

[Morgan]

What? It's me, Morgan. I guess you've had all the music you need to wake you up.

[Sean O'Hara]

It was you who turned my radio on.

[Morgan]

Me, it was. Were you thinking the radio turned itself on?

[Sean O'Hara]

I. I had a dream about a girl.

[Morgan]

A nightmare is more like what you had. The looks of here you were thrashing about in that seat and beating yourself in the face with your fist.

[Sean O'Hara]

Beating myself? Why is that?

[Morgan]

With a blood all over your shirt.

[Eileen's Grandmother]

Blood?

[Morgan]

Stop looking bewitched, o', Hara, and look in your truck mirror to your nose. You gave yourself a nosebleed in your sleep. And that, my boy, was no dream.

[Sean O'Hara]

I was an hour late for unloading in the Cloverville depot.

[Truck Driver/Companion]

Oh, hang on.

[Morgan]

Yeah, right.

[Truck Driver/Companion]

Come over to the van a minute. Where the Lotus can't get an air full.

[Sean O'Hara]

You're acting funny.

[Truck Driver/Companion]

We got everything off the inventory calls for, but there are three other items. I threw a canvas cover over them before the boys got a look at them. Did you look into your van?

[Sean O'Hara]

What? What's under the canvas cover?

[Truck Driver/Companion]

Red coffins, o'. Hara. Three old pinewood coffins. Want to tell me something?

[Sean O'Hara]

What? To tell you. Sure. I almost forgot about those coffins. It's a side job. Some yokel undertaker down by Moon Hollow. I'm to drop them off somewhere, save them, track and check charges that way and make myself twenty dollar side money.

[Truck Driver/Companion]

Quit lying to me, o', Hara, and to yourself.

[Sean O'Hara]

Lying, you say? But it's a factory. Positively a fact. And I'm giving you half of the $20 for covering me. Wasn't one to pass up $20 for trucking three empty coffins.

[Truck Driver/Companion]

The coffins aren't empty, O'. Hara. And you never took a job from any local undertaker either.

[Sean O'Hara]

Yeah, you seem to know a lot about something.

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[Truck Driver/Companion]

I was born and raised here.

[Sean O'Hara]

What is there to know?

[Truck Driver/Companion]

For one thing, the Red Headed Witch of Moon Hollow. Maybe you might be trucking the dead for her. Eileen or any name you give her. She was Katie to a trucker named Conway who had your run once. To hear Conway tell it, Katie or Eileen was always trying to get him to take her dead out of Moon Hollow to somewhere else.

[Sean O'Hara]

Tomato carriage to the old mill house or somewhere.

[Truck Driver/Companion]

Anyhow, that's how the story usually goes. But what she's really out to do is drive you crazy.

[Sean O'Hara]

How do you know there is such a girl?

[Truck Driver/Companion]

Those pine boxes in there. I saw them on Conway's truck once. Like they're on yours now. Conway dumped them right back in Moon Hollow. Take my advice. From now on, pass the redhead up, jam your accelerator to the floorboard and go past her. At 80

[Sean O'Hara]

I don't know what I'll do. What I did, bad luck to me on the trip back was look for the waterfalls and the old mill house. When I came to the Maidak county line, was there an old mill house where the waterfalls, I was wondering. Or was I a man looking hard to lose his mind? I brought one of the caskets to the ground. It wasn't empty, but there wasn't much weight to it either. I opened. Held the dead all right, but not the face or the body of the dead. It was only the skeleton. A skeleton of someone dead more years than the mind can imagine. There was a waterfall in the deep woods. The music of water and Eileen's voice splashing in it. There was an old mill house down below the rock. A stone house without windows, like Eileen at sea. I pulled an old rusted bolt and opened the door to one great room and a table. It went from wall to wall. It was old. The flying dust could blind a man so he'd only see what his tipsy imagination would want him to see. I saw Eileen. Eileen standing before me with her arms out. Like a thin shadow. My eyes could see. See through to the wall.

[Eileen]

Go bring the caskets shun. Go bring the dead. Whom?

[Narrator/Host]

Well, here's something terribly new in thumbing a ride. A witch hiker. And a neat switch too, on the old boy meets girl formula. This one's boy meets ghoul Eileen. Now there's a funny lass dead set on getting ahead. And if she keeps up the pace, she'll have o' Hara Shaun of his sanity any mile. Now let's get back beside our bewitched trucker.

[Sean O'Hara]

A man's imagination gets tipsy when he drives a great silver van in the loneliness of the night. But there was an old mill house where the water falls. As Eileena said, there's. It was there I left three caskets of the old dead passing Moon Hollow. On the way back, I stopped in at Morgan's Diner for some warm and coffee. It was just old Morgan putting his profits into the screaming jukebox.

[Morgan]

O'. Hara.

[Sean O'Hara]

It's you, Nobody else.

[Morgan]

I've been waiting all night for you to come.

[Sean O'Hara]

I stopped for a time in May.

[Truck Driver/Companion]

Duck

[Sean O'Hara]

agitated the way you look if I slipped out on you for a meal. No, I don't understand the looks of you.

[Morgan]

The shoebox. It's for you, you see. Your name's written on it. Charlo. Her.

[Sean O'Hara]

And left by whom?

[Morgan]

The devil's own daughter, Oharra. Her face was enough to send a

[Sean O'Hara]

man hiding in his car. But a face all sniff with blood, was it?

[Morgan]

You have seen her too?

[Sean O'Hara]

We are old acquaintances by now. When I left Morgan's prying eyes, I opened the shoe box. It held a small white envelope. An old rusted tin can. I opened the envelope. Two tickets there were to a costume party in the Moon Hollow firehouse for the next night. And the tin can full of money. A showering of Indian pennies and buffalo nickels. Coins with a grit and tarnish of years on it. Like some miser had saved them in a secret nook of the kitchen that was too much for a tired working man to puzzle out. My poor head would have none of it. I had a lot oh to hold back that night. It was time enough for puzzles. Another night she'd be standing on the little white bridge where the road takes a bend. And then I would put my questions to her. She was standing there the next night, watching for me, calling for me to stop.

[Eileen]

John, stop. Sh.

[Sean O'Hara]

Her hair was wild as before and her face the same. Her dress was changed. It was a costume now. She was wearing all silk and gaiety, like she was dressed up for a party.

[Truck Driver/Companion]

No.

[Sean O'Hara]

Yes. Eileen.

[Eileen]

You weren't going to stop for a fact, Noel.

[Sean O'Hara]

You'll not be riding in my cab now. Not be trucking your dead ancestors anymore. Not for a barrel of nickels and pennies.

[Morgan]

Here.

[Sean O'Hara]

Take your money back.

[Eileen]

No. It was grandmother's savings. She wants you to have it.

[Sean O'Hara]

Oh, so there's a grandmother too, is there?

[Eileen]

Yes.

[Sean O'Hara]

And when will she be riding along to the old mill house?

[Eileen]

Tonight, Jean. She will ride with you tonight. And after that, I'll be riding with you to Madoc too.

[Sean O'Hara]

And that settles the count of your people.

[Eileen]

No. It still leaves you, Sian.

[Sean O'Hara]

Me? Am I hearing you say me?

[Eileen]

Yes. You too will sit at the long table in the great hall of the dead. You will sit beside me.

[Sean O'Hara]

Alive, is it to be? Or dead?

[Eileen]

Dead, Sean, like us.

[Sean O'Hara]

And what will snuff me out? A hearty man like me, without a sickness.

[Eileen]

You will just die. Your heart will just stop.

[Sean O'Hara]

My heart will stop.

[Eileen]

You don't want to sit beside me.

[Sean O'Hara]

It's not by way of wooing a lady.

[Eileen]

Charles.

[Sean O'Hara]

Yes?

[Eileen]

I mean, do you like my costume?

[Sean O'Hara]

I do. And what's it for?

[Eileen]

To dance at the firehouse. I thought you would take me.

[Sean O'Hara]

I think not.

[Eileen]

Then I will go alone. Good night, Charles.

[Sean O'Hara]

Compliments of the evening to you, miss. But instead of sleeping in old Morgan's yard, there I was just before the midnight hour. In the costume of a trucker with a tottering mind. And looking for Eileen in the firehouse. I found her in her silken gaiety with a gentleman. Japanese lanterns were dimmest. Wearing a mask like the others were. But not dancing like the others. Eileen.

[Eileen]

Shan.

[Sean O'Hara]

You're not surprised I came.

[Eileen]

I knew you'd come.

[Sean O'Hara]

You're not dancing.

[Eileen]

The music is stopped.

[Sean O'Hara]

It's unmasking time. Midnight's not a minute away. The callers announce you.

[Narrator/Host]

Everybody listen.

[Tammy]

Midnight.

[Morgan]

Everybody unmasked.

[Sean O'Hara]

You're not unmasking. I leave you.

[Eileen's Grandmother]

Unmask me. Sh.

[Sean O'Hara]

All right. I'll speak again. Say my name again.

[Eileen's Grandmother]

Shando. Hana.

[Sean O'Hara]

Your voice. Start. The voice of Mylene.

[Eileen's Grandmother]

I am not Eileen. Put your hand to my mask, son.

[Sean O'Hara]

You're an old lady.

[Eileen's Grandmother]

I am old. And the life you see is the last I have to show. Look at me. For the last time. Ohara. I am Eileen's grandmother.

[Sean O'Hara]

But I learned she was here. Hand was in mine. Dressed in a costume with a silken gaiety you're now wearing.

[Eileen's Grandmother]

Eileen slips away to leave me with you. You have business with me now, Charlotte.

[Sean O'Hara]

Business, you say?

[Eileen's Grandmother]

Take me to Madoc County. The old mill house. Where the water falls. I'll be waiting to ride with you. Harra don't belong.

[Sean O'Hara]

I drove the lonely night to the Maida county line with my freight of storage eggs and can coats and the dead in a pine box. The old grandmother and her silks was in her casket. I didn't bother to ask whose job it was. I put the CO questions to Eileen the next time she waited for me. Where the road takes a bend around Moon Hollow. And she was there like I know she'd be, pointing her thumb to hit your eyes.

[Eileen]

Don't stop, bully.

[Sean O'Hara]

But I didn't stop this last time. I did what the checker at Lacy said Conway failed to do and what I must do. I passed her up. I pushed the gas accelerator to the floor and passed her by and aiming. Where the highway bends into Moon Hollow. But I didn't leave Eileen behind her. She was on the seat beside me.

[Eileen]

You didn't want to stop, Sean.

[Sean O'Hara]

She was beside me.

[Eileen]

Without her head, I'm dead, Sean. Dead. Now drive me to Mado County.

[Sean O'Hara]

The imagination gets tipsy. The sheriff of Mehta county is one to know it. And the doctor beside him looking at me with eyes of pity, is one to know it too. I hear them talking to me, but the words go sailing into the smoke of the moon. I listen, but I do not understand.

[Morgan]

You ran over her on the bridge down in Moon Hollow last night. A 20 ton truck. Ohara. Her head was severed. I'll tell you all you need to know about Eileen Grant. Her grandmother and her people, they were run out of the old mill out of Madoc county about 30 years ago. Native superstition did that. The family was thought to have. Well, call it evil powers. Where'd she take Eileen? To Ohana. Eileen? What did she do with the body?

[Sean O'Hara]

I'll take you to her.

[Eileen's Grandmother]

Come.

[Sean O'Hara]

I'll take you to her. I took them, the sheriff and the doctor, to the old mill house where the water falls. Here, Sheriff, Is Eileen and her people sitting around the table in the Great hall of the Dead

[Morgan]

to do this? To set them around the table like that? You. You couldn't be in your right mind, man.

[Sean O'Hara]

No, I couldn't be. And I'm the one to admit that I'm not in my right mind to sit here beside Eileen.

[Eileen]

Now

[Sean O'Hara]

what can there ever be between a man and a girl sitting and rotting in an old mill with her ancestors looking on.

[Morgan]

O'. Hara. O'. Hara. Say, Doc, take a look at him.

[Sean O'Hara]

O' Hara's dead.

[Morgan]

Dead.

[Sean O'Hara]

To.

[Morgan]

To sit down and.

[Sean O'Hara]

And die. Just like that.

[Morgan]

Just like that.

[Sean O'Hara]

Sheriff Ohara's heart just stopped.

[Morgan]

As if he willed it to stop.

[Narrator/Host]

Now that o' Hara's given up the ghost. There's a job open, somebody. As a special inducement to insanity, a pretty girl goes along with every trap. Oh, sorry, friend. I can't tell you which of the two jobs is the more harrowing moral. Oh, sure. I've got one carved right here on my vertebrae. This is for any motorist who runs across Eileen. Give her the go by Bob, or she'll get you is dead. Mileage.

[Tyler Reddick]

Tyler redick here from 2311 Racing. Another checkered flag for the books. Time to celebrate with Chumba. Jump in at Chumba Casino. Let's Chumba. No purchase necessary. BTW, group void where prohibited by law. CTNC21+ sponsored by Chumba Casino.