← The Great Detectives of Old Time Radio| Daily Mystery Dramas
The Great Detectives of Old Time Radio| Daily Mystery Dramas
The Big Story: Sixteen Year Old Misfit Kills Out of Fear (EP4912)
00:39:40
Today's Mystery: Across the Indiana border, a sixteen-year-old Louisville kills four men in a failed bank robbery and its aftermath. Original Radio Broadcast: January 5, 1949 Originating in New York Starring James McCallion as Al Aronson, Bob...
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- [00:00]
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Narrator/Actor (Bob Sloan or James McCallion)
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- [01:29]
Podcast Host (Adam Graham)
Welcome to the Great Detectives of Old Time Radio from Boise, Idaho. This is your host, Adam Graham. In a moment, we're going to bring you this week's episode of the Big Story. But first, I do want to encourage you. If you're enjoying the podcast, please follow us using your favorite podcast software. And I want to encourage you to check out our other podcast. And today I'm highlighting the Old Time Radio Snack Wagon, now back for its sixth season. And we've got some great episodes coming up across a wide variety of genres. Check it out snackwagon.net or wherever you get your podcast from. But now, from January 5, 1949, here is the episode called 16 Year Old Misfit Kills out of Fear.
- [02:29]
Announcer/Narrator (Ernest Chappell)
Pall Mall Famous Cigarettes presents the Big Story.
- [02:44]
Narrator/Actor (Bob Sloan or James McCallion)
Frankie. Frankie, where are you? Never listens, Never around when I want him. Frankie in the shed again. Someday he'll do something terrible. I know it. Get out. Didn't you hear me call you? Get out of here. Leave me alone. What are you doing now? What crazy thing? What's in that box? I told you, leave me alone. You overcome the shed again part. If you ever come sneaking in on me again, if you ever ask me again what I'm doing or what's in this box, so help me, I'll brain you. I'll take your hammer and I'll brain you to death.
- [03:34]
Announcer/Narrator (Ernest Chappell)
The big story here is America, its sound and its fury, its joy and its sorrow, as faithfully reported by the men and women of the great American newspapers. Dateline, Louisville, Kentucky. The story of a boy, a misfit of 16. A frightened boy who killed out of fear. To reporter Al Aronson of the Louisville Courier Journal for his excellent work. In this case goes the Pell Mell Award for the. Of all America's leading cigarettes, only one is outstanding. Only one is outstanding.
- [04:24]
Narrator/Actor (Bob Sloan or James McCallion)
It's the longer, finer cigarette, Pell mell.
- [04:28]
Announcer/Narrator (Ernest Chappell)
Discover for yourself why so many of your friends have changed to pell mell. Pell mell's greater length. Filters the smoke on the way to your throat. Filters the smoke and makes it mild.
- [04:39]
Narrator/Actor (Bob Sloan or James McCallion)
That's important.
- [04:41]
Announcer/Narrator (Ernest Chappell)
Yes. Pell mell's greater length of traditionally fine, mellow tobaccos. Filters the smoke on the way to your throat.
- [04:47]
Narrator/Actor (Bob Sloan or James McCallion)
Filters the smoke and makes it mild.
- [04:50]
Announcer/Narrator (Ernest Chappell)
Thus, pell mell gives you a smoothness, mildness and satisfaction no other cigarette offers you.
- [04:56]
Narrator/Actor (Bob Sloan or James McCallion)
So enjoy the longer, finer cigarette in the distinguished red package.
- [05:01]
Announcer/Narrator (Ernest Chappell)
Pell Mel. Pell Mel. Good. Good to look at, good to feel. Good to taste and good to smoke. Pell Mell Famous cigarettes. Outstanding.
- [05:13]
Narrator/Actor (Bob Sloan or James McCallion)
And they are mild.
- [05:26]
Announcer/Narrator (Ernest Chappell)
Now the story has it actually happened. Reporter Al Aronson's story as he lived it. Louisville, Kentucky.
- [05:43]
Narrator/Actor (Bob Sloan or James McCallion)
You didn't know about it? Al Aronson, reporter for the Louisville Courier Journal. No one on the paper knew about it. But it would electrify you and all of Louisville with. Within an hour it happened. This frightening, pathetic thing that'll live with you the rest of your life. It happened just across the river from Louisville in New Albany, Indiana. Six miles from where you sat, enjoying your breakfast. It began in the First Farmer's bank, corner of Easton Maple. In New Albany, Henry Easton, the bank teller, said to Ernest Thornton, the cashier. Hey, Ernie, look at that limousine just pulling up. Must be a half a block long. What? A car coming in here. Who is it? Don't know. Must be a new depositor. Every chauffeur with him some style. Here they come. It's a kid. Some rich man's son, probably. No. No, it isn't. Henry. That isn't any. He's got a. He's got a gun. Mr. Adams. Mr. Adams. Mr. Adams. Shut up. Stand still. All of you, stand still. Where's Adams? Where's the president of this batch? No, no. What is this? Surely. Shut up and turn around. Are you Adams? Yes, I'm Mr. Adams. Turn around and walk to the vault. You don't think you can. Stop kidding? You think I don't mean it. All right. You refuse to go to the vault? I do, and I urge you for the question. Okay. Who else Refuses to go to the vault. Come on, talk. Oh, okay. You lead me there. Should we rush him? He'll kill us. Even so, I think. Talking, whispering. No, don't you. Chauffeur. Yes, sir. Go out in the car and start the motor. Yes, sir. I can't take this place now. Too much noise. You're not going to drive me where I want to go until I'm ready to come back. Holding the gun before him, the Kid. One dead man thought he was a rich man's son. Another dead man thought he could be rushed. And a third dead man thought he could be urged. The kid, he was 16. Forced the liveried chauffeur into the sleek limousine and drove away. And that was all anybody saw or heard that morning. Three dead. A 16 year old murderer escaped. You get the story. You youthful, serious, an eye for every detail. Al Aronson. The first lead, 12 hours after the attempted robbery and triple murder came from a hospital bed in New Albany, just across the river. A man with perhaps an hour to live. A man with a hole through his chest made by a.45 delivery chauffeur, George Murphy. Now don't raise your voice, George. I can hear you fine. Thank you, Mr. Anson. Like I told you, sir, he picked me up sitting in the car about 9:30 in the morning. In Louisville, that was. Yeah. Yes, sir. I Drive for Mr. Norton at the steel plant. Made me drive across the bridge. Bridge? Is it bad, George? No, it's not too bad, sir. Made me drive up to the bank. He knew that bank too, sir. Says nobody will be in there now. Just a cashier, the teller and the president. He was right, wasn't he? Yes, that's right. Got there, kept a gun in my side and made me go in with him. He killed them three men. Made me go out and drive him away. Mister, I tried to turn him in. How do you mean, George? Well, I tried to mix him up, turning corners and twist and so on. Tried to pull him into the police station, but. Well, he knew the town. Told me. Turned down here, turned down there. All the time keeping away. I'm sorry, sir. Take it easy. Yes, all the time he'd keep me from driving to the police station. New alleys I didn't half know myself and made me go down. Near the riverfront was a little blind alley I never did see before. That's the way he done it to me. Said to me, you might keep your mouth shut, but I'm making sure. And then he shot you? Yes. He stuck the gun right next to My chest. Pulled the trigger. Had a smile on his face. He was mean, mister. Bad mean. No more than 16. Real mean. What, what did he look like? Oh, big fella, six one, six two. Only 16 or 17. The most dimples on his face and a foul tongue, sir, I tell you, foul cuss. His own mother. Ever see him before? No, sir, but. But the way he knew them streets, knew where to turn, knew the bank. Must. Must be a local boy, I figure. But George, maybe. George. George, you take the theory given to you by the heroic negro chauffeur who tried to steer the car to the police station. You take his idea that this was a local boy. There are no other clues to the cops. Lt. Edmonds listens. Lights up a cigar butt. He's chewing. Ah, local boy. Couldn't be. Couldn't be. But Buddy knew the town from the chauffeur's description. He knew it as well as you. I know every hood of in this town. Every one of them. Killer isn't here. There's nine kids, maybe 10 who fit that description. I checked every one. They didn't do it. But if you'd heard the chauffeur, Lieutenant, if you'd heard me. Look, you're a bright reporter. Answer me this. He wants to do a hold up in New Albany. Why does he go over the bridge to Louisville, get the car, force the chauffeur all the way back here and then do the hold up? Does that make sense? No, but it's still luck or nothing. That was a local New Albany boy. I'd have him in the coupon halfway up for sentencing. Try something else. Lieutenant Edmonds knows New Albany. Knows it's hoodlums, it's racketeers. Knows what he's talking about. But you are Al Aronson and stubborn and a man with an eye for facts. You don't easily shake the sight of the dead chauffeur George Murphy from your mind or his words. So you start looking in dives, in pool rooms, in the sordid places, having no others that young hoodlums gather. But always I never heard of nobody look like that. Pimples, always the wise guy. Grin. The gag and the shaking of the head. And then a thought. A kid who knew the town that well must have lived here. Maybe he moved. Moved, that's it. Lived here and moved. You go to the movers in town, there are six. The first four know nothing about it. The description means nothing. But the fifth, a mean kid, dark haired, Pimples, real low down. Mean kid. That's the one. Yeah. Yeah, I moved him to Louisville. Him and his old man. What was his name? I'll never forget him. Said he'd help me with a crate. Big crate. Kind of a piano crate, but no piano in it. When I had it up, he let it. Well, he let go his end. Near busted my leg. I could have killed him. But his old man was there. What was their name? Jensen or Henson, something like that. Benson. Benson? Yeah. Frankie Benson. A real mean little rat with a foul mouth. An all American punk. You find the home of the mean foul mouthed kid in Louisville. A seedy two room shack, kitchen and bedroom. Little shed in the back where a tired, beaten old man listens to you. And before you're half throat. It's him. Don't say no more. It's him. Four men killed, you said. That's right, Mr. Benson. Sooner or later. It had to be. Now it happened. A son. A man. Slaves. A whole life for a boy. His mother died eight years ago. I never married again. Who'd marry me? And this. I knew it. I knew it. It had to happen. Has he been around since when did he do it? Tuesday. Today is Thursday. Yesterday he disappeared. No, no. Thursday. Today he disappeared today. Excuse me if I'm a little mixed up on the days. Of course. You've no idea where he went? Away. That's all he said. Away. Except the note. Now it comes to me. The note. What it meant. What note, Mr. Benson? He left me a note. I'll get it. If I tell you, you won't believe me. Step inside. Into here. Here is the only other room. The bedroom. He opens a closet where rags hang and one decent suit of clothes. And in a pocket he finds a piece of crumpled paper. Cheap note paper with lines in it. And in childish handwriting is a note. Read it. Read it. You wouldn't believe it otherwise. This is his writing. His. Stop me, stop me please, before I do it again. That was after he murdered them. Four men. It's awful, mister. Do you. Do you think you can find him? Do you think you can stop him before he does it again? Before he does it again? I can try. We've got to, Mr. Benson. We. We just got to.
- [16:11]
Announcer/Narrator (Ernest Chappell)
We'll be back in just a moment with tonight's big story. Palmel Famous Cigarettes. Outstanding. And they are mild for Palmel's greater length. Filters the smoke on the way to your throat. Filters the smoke and makes it mild.
- [16:38]
Narrator/Actor (Bob Sloan or James McCallion)
That's important.
- [16:40]
Announcer/Narrator (Ernest Chappell)
Yes. Pell Mell's greater length of traditionally fine mellow tobaccos. Filters the smoke on the way to your throat filters the smoke and makes it mild.
- [16:50]
Narrator/Actor (Bob Sloan or James McCallion)
Your eyes can see Pell mell's greater length. Yes, your eyes can see the difference. Your throat can tell you what it means.
- [16:59]
Announcer/Narrator (Ernest Chappell)
Pell mell's greater length of traditionally fine mellow tobaccos means a longer, natural filter to screen and cool the smoke. Thus, pell mell gives you a smoothness, mildness and satisfaction no other cigarette offers you.
- [17:15]
Narrator/Actor (Bob Sloan or James McCallion)
Enjoy the longer, finer cigarette in the distinguished red package.
- [17:19]
Announcer/Narrator (Ernest Chappell)
Pell mell. Pell mel's are good. Good to look at, good to feel, good to taste and good to smoke.
- [17:27]
Narrator/Actor (Bob Sloan or James McCallion)
Remember, Pell mell's greater length of fine tobaccos filters the smoke on the way to your throat. Filters the smoke and makes it mild.
- [17:37]
Announcer/Narrator (Ernest Chappell)
Pell Mell Famous cigarettes. Outstanding.
- [17:40]
Narrator/Actor (Bob Sloan or James McCallion)
And they are mild. This is Cy Harris returning you to your narrator and reporter Al Aronson's story as he lived it and wrote it. It's only a few minutes since a father admitted that his son is a murderer to you. Al Aronson, reporter for the Louisville Courier Journal. Just a short time since a father showed you the fear in his heart and the terror and desperation in his sons. A boy of 16 who feared he'd kill and kill again unless he was stopped. You sit now in the bare kitchen on a rickety chair and listen to the history of this boy. This mean, foul mouthed boy waiting for a clue that might tell you where to find him. He was bad since he was 10. A week after his birthday he stole a knife and tried to cut one of his friend's fingers off. I stopped him. Why did he do it? A lot of reasons. He was bad. His mother was dead. I. I saw him only a few hours a week. I worked the only work I could get out of town. He lived like a. Like a wild animal in the streets, in the gutters. Don't blame yourself, Mr. Benson. Blame. Blame. I don't blame anyone. I tell you only the facts. He stole twice. He was caught twice a year in the reform school each time. And how'd he come out? Worse. You know about reform schools? If he was wild before he went in. When he came out he was sly, a fox, a wolf waiting for his chance. Small boys he tortured, tied them up. Things he saw in the movies he did to them. Like the Indians in. In some of the magazines he read. Where he got em. I don't know. I know what happens to kids sometimes. Kids. He was bigger than me. Four inches bigger. Weighed 170 pounds. If I asked him to come into the house, to work. Maybe I raised my voice. He hit me many times. He knocked me down. And at night? At night? I don't understand. No one would understand. At night he slept with a gun. A gun? A.45. I saw it once. A gun under his pillow. We gotta find him. To stop him, to. To take care of him. Mr. Benson, you. You say he just disappeared the day after the killings. The box. I didn't tell you about the box. That's right. The day after the killings. What box? I don't know. Maybe it ain't important. It was to him. He said he'd bring me once. If I interfered, he would've too. He. He got a piano crate somewheres. Brought it into the shed. This is when we lived in New Albany. Before we moved and fixed it up. He called it camping out. You know, he'd get in a box and spend a whole day there. Never come out. Even eatin there. Maybe it's just a child's game. I don't know. Maybe. Lots of kids do things like that. Why did you mention the box, Mr. Benson? Because the day before he disappeared, the only thing he said to me this was after he killed those men. He said, I'm leaving money for the box. Ship it to Knoxville. Knoxville? Where he got the money from? I don't know. He. He never worked a day in his life. I didn't give it to him. Where in Knoxville? General Delivery. I remember because he said, here's the money. Don't write down the address. Remember it? General Delivery, Knoxville. And you sent it. Shouldn't I have? No, I'm only asking. I sent it yesterday, about noon. Railway Express. Yeah. Have you got the receipt? Yes. Give it to me. Why? What? Just maybe nothing, but give it to me. You checked the neighborhood. No one saw Frankie leave town. That said you go to the police, to Lieutenant Edmonds, who once before told you your theory was cracked. Say that again, Aronson. I don't think my hearing's that bad. I said this kid sent a packing crate out of town to General Delivery in Knoxville. And I want to investigate that crate. What are you trying to prove? Well, nothing. I want your cooperation to find out where that crate is and see what's inside of it. Is that going to tell us where little Frankie is? It might. What did he do, leave a note inside and say you'll find me at the Wall of Astoria in New York? I don't know what we'll find, but from what his father said, this kid's been bad. A Long time. This kid's been bad since he was born. Now, look, let's fight about it. All I want is an order to stop the crate, examine it. Look, I play hunches, long shots. I'm screwy, but not this screwy. Who found out where Frankie lived? Okay. Who said he couldn't possibly be a local boy? Okay. Maybe I am that screwy. Hennessy, get the Railway Express on the phone. We want to trace a crate shipped to Knoxville. That's the warehouse, Lieutenant. That big one? Yes, sir. Warehouse 3. The crates in section D. Want me to go in with you? What for? To check a crate. I'm a big boy. Yes, sir, Lieutenant. Got a flashlight? What's the matter? No lights in there? No, sir, Lieutenant. Tell me a warehouse. I got a flash, Lieutenant. Prepared for anything, eh? Yes, sir. Lieutenant. That Section D must be down there. Yeah. Can you see all right? What the devil are you whispering about? I don't know. What are you whispering for? Oh, shut up. I'm sorry. You know, this crazy idea of yours is getting me. I know. Me too. Wait a minute. There it is, I think. Let's see. Over here is the address. Yeah. General delivery, Knoxville. Mm. Same handwriting. What handwriting? Same. Same as on the note I told you about. The note? Yeah, what now, let's. Let's look a little. Stop whispering. Look. What holes. About six, eight holes in the top. Same on the side and this side, too. So what? I think they're ear holes. What are you talking about? He's inside, the kid. I tell you, he's in that box. You're nuts. Watch. I brought a candle. I'm gonna light it, and while it's burning, it'll go inside the box. What for? Don't light it yet. Back up a little, Benson. You're in that box. You crazy kid. Come out. You're in there kicking the side of the box. You hear me? Listen, kick if you're inside that box. Light the candle. Watch out. You know. Okay. I hate to do this, but I'm going to wiggle it around. He's in there. Get back. Get back, you dirty cowards. I got a gun. So help me if you don't leave me alone. Come out, Vincent. Come out. Haven't got a chance. Watch it. Stay away. What are you doing? The only thing we can do. I'm going to roll the crate over. Watch out. I'll help you. Okay, together now. Roll it. You never get me, you lousy flatfoot. Never. Never. But never is a long time. And after three more turns of the Crate. There's silence inside. No more shots, no more despairing threats. And then you and the lieutenant open it up. And out comes the mean, foul mouthed boy of 16 who did all these things, these unspeakable things. Robbery, assault, brutality toward his father. Murder. He comes out and asks two questions. Can you tell me why I did it? Can you? Can you help me, mister? Can you? And then he collapses. And in the end, after the arrest, after the confession, you and his beaten, aged father examine the box, his camping out place. And you find. Look like a Pullman compartment. He fixed it with a bed. He could sleep here a day, two days. Mm. He had containers under the seat. This one is water. And this is for food. A lantern. Look, Winston, a lantern. I see. And matches in a waterproof case. A knife. Three more guns. He had quite an arsenal. The magazines. Look at all the magazines. And then something that rings your heart, that touches everything and colors it. Mr. Benson, look. Black hat, black shirt, black pants and mask to wear over his eyes. And false black whiskers. You write the story, Al Aronson. The case is finished, the killer found. But when you're done, the biggest story is left unwritten, unsaid. Whose fault? Who's to blame? How does it happen in this year of our Lord 1949, that a boy of 16 could murder four men, ship himself to Knoxville and carry with him an arsenal, loaded guns and a mask with false whiskers?
- [28:38]
Announcer/Narrator (Ernest Chappell)
In just a moment, we'll read you a telegram from Al Aronson of the Louisville Courier Journal with the final outcome of tonight's big story. Of all America's leading cigarettes, only one is outstanding. Only one is outstanding.
- [29:06]
Narrator/Actor (Bob Sloan or James McCallion)
It's the longer, finer cigarette in the distinguished red package, Pell mell.
- [29:11]
Announcer/Narrator (Ernest Chappell)
For pell mell's greater length of traditionally fine, mellow tobaccos filters the smoke on the way to your throat.
- [29:18]
Narrator/Actor (Bob Sloan or James McCallion)
Filters the smoke and makes it mild.
- [29:20]
Announcer/Narrator (Ernest Chappell)
Thus, Pell mell gives you a smoothness, mildness and satisfaction no other cigarette offers you.
- [29:27]
Narrator/Actor (Bob Sloan or James McCallion)
So enjoy the longer, finer cigarette in the distinguished red package, Pell mell.
- [29:33]
Announcer/Narrator (Ernest Chappell)
Pell mels are good. Good to look at, good to feel, good to taste and good to smoke. Pell Mell Famous cigarettes. Outstanding.
- [29:44]
Narrator/Actor (Bob Sloan or James McCallion)
And they are mild.
- [29:52]
Announcer/Narrator (Ernest Chappell)
Now we read you that telegram from Al Aronson of the Louisville Courier Journal.
- [29:56]
Narrator/Actor (Bob Sloan or James McCallion)
Further examination of crate used as hideout by killer in tonight's big story revealed that one side of it was so hinged that it could be locked or opened from the inside. Here he had also provided straps to hold himself and his provisions. Steady while in transit. News of his capture so aroused citizens of New Albany, Indiana, that police were compelled to transfer him to Indiana Reformatory at Jeffersonville. Tried for murder, he was sentenced to life imprisonment in the state penitentiary. Thanks a lot for tonight's Pell Mell award.
- [30:25]
Announcer/Narrator (Ernest Chappell)
Thank you, Mr. Aronson. The makers of Pall Mall Famous Cigarettes are proud to have named you the winner of the Pall Mall $500 award for notable service in the field of journalism.
- [30:35]
Narrator/Actor (Bob Sloan or James McCallion)
Listen again next week, same time, same station, when Pell Mell Famous Cigarettes will present another Big story. A big Story from the front pages of the Jacksonville Journal byline, Lee Cully. A big story about an abandoned school, a weird old man and a witch who walked in.
- [31:10]
Announcer/Narrator (Ernest Chappell)
The Big Story is produced by Bernard J. Proctor with music by Vladimir Zielinski. Tonight's program was written by Arnold Pearl. Your narrator was Bob Sloan and James McCallion played the part of Al Aronson. In order to protect the names of people actually involved in tonight's authentic Big Story, the names of all characters in the dramatization were changed with the exception of the reporter, Mr. Aronson. This is Ernest Chappell speaking for the makers of Pall Mall Famous Cigarettes. This is NBC, the national broadcasting company.
- [32:06]
Podcast Host (Adam Graham)
If you're the purchasing manager at a manufacturing plant, you know having a trusted partner makes all the difference. That's why hands down, you count on Grainger for auto reordering with on time restocks. Your team will have the cut resistant gloves they need at the start of their shift. And you can end your day knowing they got the safety well in hand. Call 1-800-granger. Click granger.com or just stop by Granger for the ones who get it done. Welcome back. Well, in this episode, in addition to McCallion, we heard Martin Wolfson, Santos Ortega, who was really in everything in New York radio. Then you had Jackie Grimes and Grant Richards, Dr. Joab's great resource. The Stories behind the Big Story actually has details on where this story originated from. And it was actually from an incident that occurred in November of 1909 when there was a daytime robbery of the Merchants national bank and four people were killed in the process. And that is really the extent to which the story has truth in it. And a chauffeur was among those killed as well as bank employees. I often say the Big Story is a true ish crime series and this episode illustrates why. There is a basic crime and circumstances that are involved, but the embellishments really take it to being very fictitious. Of course, there's the issue of narrative framing. And we talked about this in another episode where the way the case was presented was changed to tie into a cultural narrative of the time about the problem of juvenile delinquency. That ending question, how could this happen in 1949? Well, it didn't. It happened in 1909. There were two world wars and a depression in between this story and, and this episode. And I don't think that the episode really showed that he killed out of fear or even much that he was a misfit, but it was trying to go for the narrative. Of course, out of context it could be read. What is the postal service in this country doing that people are shipping themselves around in 1949 and able to carry all of this stuff with them? That would be worse because that was not actually part of the story of the young killer Thomas Jefferson Hole where according to Dr. Joe Webb, that police caught him as he tried to cross the Ohio river to the Kentucky side on a skiff. So the whole idea of this crate is an invention for the radio show. Now I should say that even though it didn't actually happen, it is plausible because people did ship themselves around and piano crates were huge and they were built from very sturdy wood and so you could kind of curl up in there and nothing that he did was impossible. It's a bit implausible that this 17 year old juvenile delinquent is going to have these sort of mad carpentry skills, a mechanical genius and also a knowledge of how the freight companies work. And this sort of like Zen master sort of physical discipline to stay still the whole time. That plus just as a practical matter, nobody saw him particular radio take and so he didn't need to go to all this trouble. I mean, I guess if you'd already prepared the crate in advance as your escape plan, you wouldn't think about whether it was necessary or not. Or you'd think, you know, I don't technically need to do it this way, but I've already built out this really cool box with hinges and secret compartments and secret. And a fold down bed and I've got the money for the shipping and I just got to. I mean that is the best reason. If I've been planning on making a secret escape in a piano crate, then you gotta do it. It doesn't matter if you don't need to, you've gotta do it. Now one thing that's really interesting is that I do have access to the performance scripts for each episode and this episode had a couple of Funny changes. The funniest to me was that the original script as typed, had him being shipped to a P.O. box, which just raises so many questions. Well, listener comments and feedback now. And we start on Patreon, where Joel comments, great cast. And then Harrison thanked me for the follow up on the previous episode and said regarding the episode the Lottery, the minute the cop noticed Mac, I knew I'd heard that somewhere before, but couldn't recall where. Thanks for mentioning Casey, Crime Photographer. Otherwise it would have driven me a bit crazy. And yeah, there are those cases where you just hear a case and it sounds familiar. Like I've heard that before and it sets me down a rabbit hole trying to figure out where did I hear that before? And if I don't solve it, yeah, it's. It's going to bother me. So appreciate your comment. And. And then I have a comment over from YouTube where James writes. Very interesting story and well acted. Well, thanks so much, James. And now it is time to thank our Patreon supporter of the day. And I want to thank Jennifer, patreon Supporter since November 2019, currently supporting the podcast at the rookie level of $2 or more per month. Thanks so much for your support, Jennifer. And that will do it for today. If you're enjoying the podcast, please follow us using your favorite podcast software and be sure to rate and review the podcast wherever you download it from. We'll be back next Tuesday with another episode of the Big Story, but join us back here tomorrow for Broadway's My.
- [39:50]
Narrator/Actor (Bob Sloan or James McCallion)
Beat, where a nervous twitch, Danny. To juggle things in my right hand. Maybe I'll be remembered for it. What have you got, Dr. Sinski? The man lying there, they found him in his bed last night. Murdered These that murdered him. Two bullets. Look.22 and a.32. Wouldn't you say so, Doctor? That I wouldn't know. What I know is only one of these was needed to kill him. Either one. The man was wanted dead twice, Danny. He was killed twice. Two bullets, different size. Twice dead. You know who he was? When they brought him to me last night, there was a tag on him. A name. Tom Keeler. An address to Nixon Hotel. Nothing else. No other word to the living about why such things happened. You're sure, Doctor? You're sure that each wound was a mortal wound? Danny, Each wound could possibly.
- [40:47]
Podcast Host (Adam Graham)
I hope you'll be with us then. In the meantime, send your comments to box Thirteenreatdetectives.net Follow us on Twitter at radiodetectives and check us out on instagram.instagram.com greatdetectives from Boise, Idaho, this is your host Adam Graham signing off.
- [41:10]
Grainger Representative
If you're an H Vac technician and a call comes in, Grainger knows that you need a partner that helps you find the right product fast and hassle free. And you know that when the first problem of the day is a clanking blower motor, there's no need to break a sweat. With Grainger's easy to use website and product details, you're confident you'll soon have everything humming right along. Call 1-800-GRAINGER clickgrainger.com or just stop by Grainger for the ones who get it done.
- [41:40]
Narrator/Actor (Bob Sloan or James McCallion)
I'm here on a job site with Tim who owns his own electrical contracting business.
- [41:44]
Announcer/Narrator (Ernest Chappell)
Three employees and two work trucks.
- [41:45]
Narrator/Actor (Bob Sloan or James McCallion)
Tim traded up to Geico Commercial Auto Insurance. We're positively here where he needs us most. They sure are. With step by step help on all his insurance needs. All for shockingly low rates.
- [41:57]
Podcast Host (Adam Graham)
Shockingly low, huh?
- [41:58]
Narrator/Actor (Bob Sloan or James McCallion)
Just a little bit of electrician humor. Do you get it? I got it. You know, it feels like we have a real connection. Alright, I'll stop. Get a commercial auto insurance quote today@geico.com and see how much you could save. It feels good to Geico.
- [42:10]
Grainger Representative
This is the story of the 1. As an H VAC technician, he and his digital multi meter are in high demand. So when a noisy office H Vac turns out to be a failing blower motor, he doesn't break a sweat. With Grainger's easy to use website and product information, he selects the product he needs to keep everything humming right along. Call 1-800-granger clickranger.com or just stop by Grainger for the ones who get it done.