The Big Story: The Lottery (EP4902)

Summary

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The Great Detectives of Old Time Radio

Host: Adam Graham
Episode: The Big Story: The Lottery (EP4902)
Date: February 3, 2026

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Episode Overview

In this episode, host Adam Graham introduces and contextualizes a classic 1948 episode of "The Big Story," titled "The Lottery." The story, based on real events covered by reporter Keila McCartney of the Atlanta Constitution, centers on the investigation and takedown of a massive illegal lottery—known as "The Bug"—operating in Atlanta, Georgia. The drama explores not just the criminal investigation, but its devastating impact on ordinary lives, most notably through the marital struggles of Joe and Jeannie Sampson.

Graham follows up the broadcast with insightful commentary on the episode’s real-life basis, its dramatic choices, and listener feedback, blending nostalgia, history, and analysis.

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Key Discussion Points & Insights

1. Introduction to the Case and "The Bug" Lottery

• The episode dramatizes McCartney’s undercover investigation into the illegal lottery.
• The lottery, referred to as “The Bug,” is revealed to be a multimillion-dollar racket devastating Atlanta’s poorest residents.

2. Personal Impact: Joe and Jeannie Sampson's Story

• Through Joe and Jeannie, "The Lottery" depicts the corrosive effects of gambling addiction on working families.

  • Jeannie tries to save diligently for a house, while Joe is lured by the promise of quick riches via the lottery.

• Memorable quote that sets the tone for their relationship and the larger theme:

  "You sure think in slow motion, Jeannie. I'll figure out a way to make a pile of dough fast..." — Joe (08:03)

• As Joe’s addiction deepens, the family’s savings are repeatedly stolen, leading to anguish and confrontation.

• Jeannie likens Joe’s gambling to a disease:

  "He's sick with it... Something rotten. Something he can't get away from even though it's like poison." — Jeannie (10:46)

• Joe’s downward spiral culminates in a violent outburst against his own sense of shame and failure:

  "Alright. I did. I robbed the lousy little broken down teapot. I swiped the money and I left it empty. Lousy little teapot with a lousy little broken handle. It's all empty. Look at it. All empty. And I don't care. You hear me, Genie? I don't care." — Joe (12:00)

3. The Investigation and Immersion in the Lottery Underworld

• Keila McCartney, risking his life, goes undercover in seedy bars where lottery “writers” congregate, needing to uncover who’s really behind the operation.

• The danger is palpable, with criminal characters discussing how to “liquidate” troublesome reporters:

  “This guy McCartney on the Constitution. There is one prize louse. Sure. And he's gonna wake up some morning and find himself dead.” — Tiny (15:20)

• The criminal mastermind, Dan Hurlbut, is discussed as both untouchable and never seen in person, emphasizing the reality of organized crime.

4. The Setup and Narrow Escape

• The criminals set up an ambush at the “Yellow House,” intending to kill McCartney.
• Jeannie tips McCartney off at the last second, he realizes the trap, and narrowly avoids assassination:

  "Gene, do you see the number on this house right here?... I just got an anonymous phone call to cover a story at number 224... See what I mean? Number 224 is a yellow house." — McCartney (21:51)

5. The Breakthrough: Turning the Criminals Against Each Other

• Tiny, the talkative lottery writer, falls out with Hurlbut and calls McCartney, giving the police a tip on an illegal whiskey stash that leads to Hurlbut’s arrest.

  “He just squealed on him something hot. Herbert's got 70 cases of whiskey in a garage on Melrose.” — McCartney (22:30)

• With Hurlbut in custody, police secure a confession, finally bringing down the racket.

6. Resolution and Outcomes

• Joe recovers from his gambling addiction, the Sampsons begin rebuilding, and Jeannie ceremonially purchases a new teapot for their savings.

  “I bought a new teapot today." — Jeannie (25:00)

• McCartney is recognized for his contribution to journalism and receives the Pall Mall Award.

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Notable Quotes & Memorable Moments (with Timestamps)

• Jeannie on the effects of gambling:
  "He's sick with it. Last night I sat across the table in the kitchen just looking at him, watching him kind of sit there and fall away into little pieces..." — (10:46)
• Joe’s breakdown:
  "It's all empty. Look at it. All empty. And I don't care. You hear me, Genie? I don't care." — (12:00)
• Criminal threat against McCartney:
  "This guy McCartney on the Constitution... he's gonna wake up some morning and find himself dead." — Tiny (15:20)
• Foiled murder plot realization:
  "Number 224 is a yellow house. See what I mean?" — McCartney (21:53)
• McCartney’s final assessment:
  "Arresting him on a liquor charge was the only way to legally hold him. Once in custody, he was persuaded to confess that he employed 1,200 people in Atlanta’s $7 million lottery ring." — Telegram from McCartney (26:00 approx)
• Closing note on renewed hope:
  "I bought a new teapot today." — Jeannie (25:00)

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Adam Graham's Commentary & Historical Context (27:53 onwards)

• Cast Highlights:
  Notable performances by George Petrie (as Keila McCartney), Mercedes McCambridge, Ted de Corsia, and others, many of whom have appeared in other detective series.
• Real-Life Foundations:
  • The episode accurately reflects the efforts and eventual victory of Keila McCartney and Atlanta’s law enforcement against the “Bug” lottery.
  • At its peak, the racket involved up to $50 million (in 1940s dollars), an enormous sum for the Atlanta area.
  • McCartney’s subsequent "victory lap" articles in the Atlanta Journal-Constitution in the mid-1940s tracked the fall of the lottery.
• Dramatic License:
  • The character of "Tiny" and elements like the "yellow house" were likely fictionalized for dramatic effect and informant protection.
  • Graham notes how some dramatic moments (like the yellow house reveal) felt more awkward or obvious to radio listeners.
• Further Research:
  • McCartney’s correspondence is archived at Emory University.
  • The story’s radio script was adapted by Gail Ingram and later rewritten for a Casey Crime Photographer episode.

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Timestamps for Key Segments

• [02:27] Main drama begins — Atlanta newsroom setup, assignment for the lottery story
• [05:56] Introduction of Joe and Jeannie Sampson
• [06:57]–[10:46] Depiction of gambling's toll on Joe & Jeannie’s marriage
• [13:23] McCartney vows to take on the lottery racket
• [15:20] The underworld's response — plotting McCartney’s murder
• [21:13]–[22:01] Foiled ambush at the Yellow House
• [23:00] Tiny betrays Hurlbut, gives police actionable tip
• [25:00] Epilogue with the Sampsons, restored hope
• [26:00] Telegram from McCartney — case outcome summary
• [27:53]–[34:00] Adam Graham’s historical commentary and cast notes

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Listener Reactions & Host Wrap-Up

• Listener feedback covers past episodes and broader issues, including the challenging pace of legal proceedings and gratitude for content accessibility.
• Graham offers insights on changing podcast algorithms, gratitude for Patreon supporters, and teases the following episode ("Broadway's My Beat") with a preview of next week’s drama.

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Tone and Style

The episode is a blend of hardboiled radio drama and thoughtful commentary, immersive in its period details and emotional range. Adam Graham’s post-show discussion is friendly, knowledgeable, and speaks directly to longtime fans and newcomers alike.

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For more episodes, historical context, or to support the podcast, visit GreatDetectives.net

Transcript

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By Granger for the ones who get it done. 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 let you know about our other podcast. And this week I am promoting the great adventurers of Old Time Radio, bringing you two great adventure stories from the golden age of radio. We are currently playing Tarzan, and this Saturday we'll begin to play counterspy. You can subscribe to the podcast at greatadventures.info or just search for us wherever you download your podcast from. But now, from July 21, 1948, here is the Big Story episode. The Lottery.

[A]

The Big Story. You're sure everything is all right, Tony? Sure I'm sure. We phoned that reporter and told him there was a story waiting for him here. So. Hey, what is it? There he is now. That's the reporter. Wait until he comes closer. Wait until he turns into the walk. You don't want to miss him, do you, Tiny? Miss him? When I get through unloading this rod, that reporter's gonna look like a Swiss cheese. 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. Atlanta, Georgia, from the pages of the Atlanta Constitution, the authentic story of a reporter who set out to clean up a lottery by gambling with his life. Tonight, to Keilor McCartney of the Atlanta Constitution goes the Pell Mell Award for the. And now, the story as it actually happened. Keila McCartney's story as he lived it. Atlanta, Georgia. You are Keela McCartney, police reporter for the Atlanta Constitution. You're young, conscientious and hot. You stand in your city editor's office listening to his dry voice briefing you on new assignments, and you wish you could dive headfirst into a glass of beer. When the voice stops, you melt out of the office to your own desk, your half hearted notes clinging damply to your fingers. Hiya, Mac. Hot enough for you, Pete? If one more guy asks if it's hot enough for me, I'm gonna pop him one. Yeah, it's hot enough for me. It's hot enough for a tamale. Hey, what's the matter with you, editor? Toss your lousy assignment, Mac, he says. Get this, Mac. I want you to see what you can do about cleaning up the lottery racket in town. $18 million a year. Those racketeers are making enough to buy plenty of tommy guns to bump off any reporter who's dope enough to stick his nose into that setup. How do they operate the thing? You lay a bet on the third, fourth and fifth digits of the daily bond total in the paper. Pays off 450 to 1, but the odds are a thousand to one against you. How do you find out about a lottery anyhow? Place a bet. Fella down the street from me, Joe Sampson, he gambles a lot on it. Ask him. He should be able to make contact for you. Okay. What can I lose? Nothing but a buck. Or who knows? You might even make a killing. Hey, is anybody home?

[B]

Oh, I'm outside in the garden.

[A]

Oh, didn't see you. You Mrs. Sampson?

[B]

That's right.

[A]

You picked a pretty rugged day for waiting, didn't you?

[B]

I sure did. Hot enough for you?

[A]

Yeah, it is. I'm looking for Mr. Sampson. Is he in?

[B]

Why, no.

[A]

I wanted to ask him about placing a lottery bet.

[B]

Get out of here.

[A]

Now, wait a minute. You don't understand.

[B]

I understand enough. You're a writer, aren't you?

[A]

Well, sure, I'm a reporter.

[B]

A reporter?

[A]

Yeah.

[B]

Oh, I'm sorry. I. I thought you were one of those lottery writers that comes to see Joe all the time.

[A]

What have you got against them?

[B]

I wish they were all dead.

[A]

Wait a minute. The lottery's against the law. Sure, but what. What harm can it do?

[B]

You really want to know that?

[A]

Well, sure.

[B]

Come on up on the porch where it's cooler. I owe you a glass of buttermilk for biting your head off anyhow. And after that, I'd like to tell you a story.

[A]

All right, all right, it's a deal.

[B]

Maybe it's not much of a story, Mr. McCartney. It's the kind of thing that probably happens to a lot of people. The thing is, this time it happened to Joe and me. We were married about a year.

[A]

Then when Mrs. Sampson, I gotta hand it to you. I married the best looking gal in the state and the best cook in the world.

[B]

Poor Joe.

[A]

Now, that am good apple pie. Sour as a banker's disposition.

[B]

Oh, say, that reminds me. I put some money in our bank today.

[A]

Our bank? Mm.

[B]

The blue teapot on the kitchen counter. I call that our bank.

[A]

Oh, the first national Samson, huh?

[B]

I put in another $3, Joe, saving.

[A]

So you can be independently wealthy.

[B]

Sure you haven't forgotten?

[A]

Forgotten what?

[B]

The house out on Fifth Street. The white one with the blue shutters and the peach tree in the yard.

[A]

Oh, what about it?

[B]

Well, it's going to be ours someday, that's what about it. Just as soon as we can fill that teapot with enough $3 to buy it.

[A]

You sure think in slow motion, Jeannie. I'll figure out a way to make a pile of dough fast and we'll move into that house next year.

[B]

Oh, no, Joe, no. If we just save a little bit each week, we'll have it soon enough. Oh, it's better that way, Joe, honest.

[A]

Okay, honey, have it your way. You go ahead and save the pennies in the teapot, but I'm gonna see if I can throw in the dollars. Hey, how about another piece of that apple pie?

[B]

Joe's always like that Mr. McCartney. Fast. He can't wait for things. Well, like? Like planting those flowers in the yard. Joe was swell about digging up the dirt for me, but he doesn't like the waiting for the flowers to come up. Anyhow, Joe brought me the $3 I asked for from his check every payday. And I'd go put it in the blue teapot. Got so as I'd wait for him on the porch steps every Friday.

[A]

Hi, baby.

[B]

Give it to me.

[A]

Give what to you?

[B]

The $3 for the teapot.

[A]

Look, honey, I haven't got it.

[B]

You haven't got it? Oh, but, but, Joe.

[A]

Listen, Jeannie, did you ever hear the bug? The lottery. You know, you bet on the numbers and the bond total each day, and if you win, they pay you 450 to 1. Well, all we need is to hit it right just once. And we've got a down payment on the house.

[B]

Oh, Joe, no, no, please don't gamble. Give me the money and let me put it away in the teapot.

[A]

Oh, come on, baby, be a sport. Just a few bucks, that's all. What harm can it do? Jeannie, what are you doing in here?

[B]

What are you doing? Joe, what do you want with that teapot?

[A]

Look, honey, I got especially lucky feeling today, see? I just want to borrow a couple of bucks from the teapot for the Bug. I'll put it back tomorrow. Look, Jeannie, how about sparing me a few bucks, huh?

[B]

The teapot's empty, Jill.

[A]

Yeah, yeah, I mean from the housekeeping money. Oh, Jill, I got a hunch today on number 419. I figure all I have to do is lay 10 bucks on that and I can clean up and get back all my losings in one hit.

[B]

Joe, you've got to bring your check home next week. I can't pay the bills. You've got to stop gambling.

[A]

How can I stop? I got to make up my losses, don't I? But, but, but, but. There ain't no buts. I tell you, I gotta make dough fast, and there ain't no faster way than the Bug. Oh, look, Jeannie, don't be mad at me. I. I got a feeling, honey, I'm gonna be lucky tomorrow.

[B]

I heard of people that couldn't stop drinking, Mr. McCartney. Men who kept on drinking even when it made them sick. Well, that's how gambling is with Joe now. Something rotten. Something he can't get away from even though it's like poison. He's sick with it. Last night I sat across the table in the kitchen just looking at him, watching him kind of sit there and fall away into little pieces just looking at him.

[A]

What the devil are you looking at? You. Well, quit it.

[B]

I'm sorry.

[A]

Sorry? Sorry? Do you always have to be sorry?

[B]

I'm sorry. Why don't you give it up, Joe?

[A]

What are you talking about?

[B]

The lottery. Give it up, Joe.

[A]

Why don't you give up picking on me?

[B]

I'm not kicking. Are you?

[A]

Yes, you are. I don't bet because I want to. I bet because I'd be a dope to stop now. I've lost too much to quit now. And my number's gonna come up.

[B]

You know it won't.

[A]

It's gotta come up someday, doesn't it? And when it does, we'll be rich.

[B]

Rich? What do we want to be rich for? We just want to save enough to put in our bank.

[A]

Yes, sure. Lousy nickels and pennies to put in the bank so we can buy a house when we're 80.

[B]

That's not true. You know it isn't. We had lots of money in the bank before.

[A]

Before what? Go ahead, say it. Before I robbed the bank to gamble. That's what you were going to say, right?

[B]

No, Joe.

[A]

Before. Joe robbed the bank. Before Joe swiped the money.

[B]

I'm not blaming you.

[A]

You just think I robbed your lousy bank, that's all.

[B]

No, I did.

[A]

All right. All right. I did. I robbed the lousy little broken down teapot. I swiped the money and I left it empty. Lousy little teapot with a lousy little broken handle. It's all empty. Look at it. All empty. And I don't care. You hear me, Genie? I don't care. I don't care a hoot about your lousy little teapot. Jeannie, for the love of heaven.

[B]

Giveaway. Giveaway.

[A]

I can't stop Genie. It's like being drunk or crazy. Every week when I get my check, I say, this time I'll bring it home to Genie. This time I'll give it all to Genie. And that guy comes along with this lottery and I. I can't stop.

[B]

What are we gonna do, honey?

[A]

I don't know.

[B]

Oh, Joe, I wish they were all dead.

[A]

So do I. You, Keila McCartney, feel a slow, burning anger that starts deep in your. And rips its way up to the lump in your throat. You're suddenly ashamed because you can still hear yourself saying carelessly, the lottery. What harm can it do? And now you know.

[B]

Can't anybody do anything to stop it? Mr. McCartney?

[A]

I don't know. I sure don't know what one guy with a typewriter can do against thousands of guys with lottery sheets and Tommy guns, but. Well, I'm going to try. We'll be back in just a moment with tonight's big story. This is Cy Harris returning you to your narrator and the big story of Keeler McCartney as he lived it and wrote it. You, Keela McCartney, are mad hot and mad hot. Because the late summer Georgia sun has made a furnace of Atlanta's streets mad. Because a lottery called the Bug is wrecking the lives of Atlanta's people. The Bug. You've written stories about it and you know it's an ugly, crawling thing that takes the dimes and the dollars of Atlanta's pool. So you take your temper and your thirst into a bar where, you know the workers for the Bug congregate. You walk out of the burning sun into the dimness and the coolness. And you Say, one beer. And then you wait. You wait while the eyes along the bar study you. And the eyes from the table study you. You wait. You drink your beer and you feel the eyes upon you. And then. Hi. Hello. Hot enough for you? You bet. You're new. I ain't seen you before. I'm new. None of the boys, they ain't seen you before. Well, I'm new. Ryder. Mmr. Claude. Uh huh. South side. That's right. Claude don't operate on the south side. He does now. What do you mean? He started this morning. You mean he's gonna muscle in on Daniels? Figure it out yourself. Well, that's good news. Glad to hear it. They call me Tiny. Ever be sure. I'm Red. Pleased to meet you, Red. Two beers, Freddy. Reason I cased you first offer. I gotta be careful. Sure. The newspapers are getting haphaz. Sure. This guy McCartney on the Constitution. There is one prize louse. Sure. And he's gonna wake up some morning and find himself dead. Have another beer, Tiny. Sure, pal, sure. How'd you make out this week? Collected $2,784. You know something, pal? People are awful suckers. Congratulations, Mac. Those stories of yours on the bug are beginning to pay off. The cops picked up three lottery bosses again yesterday. They're only the little guys, Pete. We have to get the big ones. The biggest one. Well, go to it. Sure. Trouble is, I don't know who he is. Look, pal, suppose I do get picked up one of it. This lawyer the boss hired and get a charge buried for years. Great guy, the boss. I. I never met him. Great guy. Never comes around here, does he? The boss in a crumb joint like this, they'll be funny. Dan Hurlbut is a gentleman. The word is to take it slow, pal. What's up? This lousy reporter, this McCartney on the Constitution. He's found out Dan Hurlbert's the boss. Dan says we got. Watch it, pal. What? A cop just come into the bar. Heading this way.

[B]

Hey, Mac.

[A]

Mac. Listen, I just happened to catch sight of you through the window break for me. Look, drop off this accident report for me at the station, will you, Mac? Got to hurry. Wife's birthday. You know how it is. And I'm late too. Thanks a lot, Mac. Mac. Now ain't that a coincidence? This Keelan McCartney over at the Constitution. I hear they call him Mactou. That's it. He knows. They all know. A sudden ugly silence falls over the bar. And all those eyes turn toward you again. All those ugly pig like Eyes. You stand up, you put a hand into your hip pocket, your back towards the door, slowly, slowly, keeping a steady watch on Tiny and his pals. And then you push open the bar door. And you're outside in the street, and you start to run. Take your hand out of your hip pocket because you didn't have a gun anyway. You just run. Just how much do you think this McCartney person knows about us, Tiny? Well, you know how it is, Mr. Hurl. But some of the boys ain't careful, like me. Some of the boys get a little liquored up and they talk, too. In other words, Tiny, it might be advisable to liquidate this reporter. Like you say, Mr. Helbert. Liquidate? If we could figure out some way to entice him to the Yellow house. Do you think we could entice McCartney to the yellow house, Tiny? Sure. I'll have Blanche call him with a phony story. Just tell me when you want him, Mr. Helbert. Just tell me when. Hello, Samson? Leave me alone, will you, Tiny? How much? You want a place on the buck tonight, Joe? Cut it out, Tiny. Please cut it out. I'm taking my check home tonight, you hear me? Oh, sure. But how about that little house you and the wife was planning? I thought you guys were gonna be stopped. That guy on the paper, that Kayla McCartney, he'll get you guys a whole bunch of you. I'll tell you a secret, Joe. McCartney's through. The boys at the Yellow House are gonna take care of him now. What'd you say? Fifteen bucks, Joe. All right, all right. Fifteen bucks on number 419. And I hope I never see you again as long as I live. Your Samson. $15 a number four wonder. You sure everything is all right, Tony? Sure I'm sure. Mr. Herbert Blanche telephoned. McCartney. Told him there was some kind of a story here. Hey, what is it? Just turning the corner there. That's my car thing. Wait until he turns into the walk. You don't want to miss. Miss, When I get through unloading this rod, that reporter's gonna look like a Swiss cheese. I sincerely hope so. Now, wait, Tiny. Wait until he turns into the walk. Just another few steps, Tiny. Just a couple more steps now.

[B]

Mr. McCartney? Mr. McCartney.

[A]

Gene, what are you doing here?

[B]

I just called your office and they told me where you were going. And Joe just told me what the writer said to him.

[A]

What writer?

[B]

The one called Tiny.

[A]

Tiny?

[B]

Yeah.

[A]

What'd he say?

[B]

He said the boys in the Yellow House will take care of you.

[A]

In the yellow house?

[B]

Yeah. Do you know What? He meant yellow house.

[A]

Nope. Rings no bells. Oh, well, thanks anyway, Gene. I'll go in here now and cover this story and maybe I'll check on the yellow house business later, all right?

[B]

Oh, but take care of yourself.

[A]

Don't worry, I'll be. Gene?

[B]

Yeah?

[A]

Do you see the number on this house right here?

[B]

Um, says 224 in the stu.

[A]

I just got an anonymous phone call to cover a story at number 224 for.

[B]

What's that?

[A]

You see what I mean? Number 224 is a yellow. How can you tie that? He beat it. Well, tiny, that's the second time you failed me. Me, Mr. Humph. You. Tiny, I found out it was you who talked too much and started all this difficulty. And now you've bungled an opportunity to rectify your mistake. Tiny, much as I regret the necessity, you are. You, Keila McCartney. Know who's behind this plot to erase you? Dan Hurlbut. And you know that he'll get you too, unless you get him first. But how? That's the question. How? How can you pin a guy down if nobody will squeal on him? Pete, what's with this Dan Helbert character? Is he made a solid gold? Just about. He treats his riders well, gives them big percentages of the take, protects them when they get in trouble, uh oh, more trouble. If it's another anonymous tip, hang up, Mac. It's too hot to go to a funeral. McCartney speaking. This the McCartney that's been writin them stories on the lottery? Yeah. Who's this? Nobody. Look, I used to be in the lottery business myself, see? What business you in now? Giving tips to reporters? No thanks. You'll want to hear this, McCartney. A guy by the name of Dan Hurlbut has 70 cases of whiskey stored in a garage over on Melrose Avenue, see? And he ain't got no permit for him, see? Yeah, I see. Guys with no permits for storing whiskey can get arrested. Suppose you take it from there, Mac. Hey, wait a minute now. I get your voice, Tiny. Hello? Hello, Tiny? Hello? T. Nope, hung up. Another tip from Tiny, the writer I got mixed up with. Just recognize the voice. He must have had a falling out with Herbert. He just squealed on him something hot. Herbert's got 70 cases of whiskey in a garage on Melrose. To coin a phrase. Is that hot enough for you? It's hot enough for anyone, including the police. Dan Hurlbut is arrested for storing whiskey without a permit. Then the police begin their relentless questioning and finally secure the three page Confession, which wipes up what's left of the lottery racket in Atlanta. And then one afternoon, you take a stroll out to see your old friend the Sampsons. Hi, Jeannie. Still at the weeding? Yeah.

[B]

Place is a mess. Want some buttermilk?

[A]

I could be persuaded. Joe home?

[B]

Oh, not yet. He stopped by to get his paycheck. I bought a new teapot today.

[A]

Well, here's its chief depositor now. Hi, Joe. Hiya, Mack. Good to see you. Hello, baby. How about a kiss, huh?

[B]

Give it to me.

[A]

What for?

[B]

$3 for the bank.

[A]

You settle for two.

[B]

Joe Sampson.

[A]

You take it easy, honey. I. I saw these flowers downtown and I thought they'd, well, kind of brighten up the place while those ones you planted take their own sweet time blooming.

[B]

Aw, Joe, you big lug.

[A]

And then, well, I had to stop and get Mac here a couple of cigars to say thanks toughest, didn't I? In just a moment, we'll read you a Telegram from Ker McCartney of the Atlanta Constitution. With the final outcome of tonight's big story. Now we read you that Telegram from Keila McCartney of the Atlanta Constitution. Previously unable to get any evidence against lottery boss in tonight's big Story. Arresting him on a liquor charge was the only way to legally hold him. Once in custody, he was persuaded to confess that he employed 1200 people in Atlanta's $7 million lottery ring. A 15 count indictment was secured against him. He was sentenced to six years on the chain gang at Tatten All State Prison in Reidsville. My sincere appreciation for tonight's Pall Mall award. Thank you, Mr. McCartney. 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. 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 Los Angeles Herald Express. Pat Foley. A big story about a meek little man with a mania for marriage and murder. The big story is produced by Bernard J. Proctor with music by Vladimir Zielinsky. Tonight's program was written by Gail Ingram. Your narrator was Bob Sloan, and George Petrie played the part of Keela McCartney. 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. McCartney. This is ernest chappell speaking for the makers of pal mal famous cigarettes. This is NBC, the national broadcasting company.

[C]

Welcome back. Well starred along with Mr. Petrie in this week's episode was just James van Dyke, Ted Decorcia, James Monks, Mercedes McCambridge and John Sylvester. And actually the majority of the cast has starred in at least one great detective series. George Petrie, of course, as Commissioner Bill Mason on Call the Police as John J. Malone in the amazing Mr. Malone, Ted Decorcia as Mike Hammer, Mercedes McCambridge as Martha Ellis Bryant in Defense Attorney, and James monks as both Mr. I.A. moto and the Avenger. The Stories behind the Big Story website essentially confirms the truth of the basic story by Mr. McCartney. And I went ahead and took a look through newspapers.com at some of the original stories and in the Atlanta Journal Constitution. And according to one of McCartney's later stories, he did an article in 1945 which was kind of a victory lap article in 1945 pointing out that the racket had dried up with the conviction of the leaders and a lot of small fries. According to McCartney, the bug lottery had involved up to in like its peak years $50 million, which for a single metropolitan area. And keep in mind that the racket had been in operation for about 20 years. So it's hard to say, you know, what would the $50 million have been in today's money without knowing the precise year it was $50 million. But Fulton county during this period had somewhere between 250,000 and 400,000 people. And that would be in the hundreds of millions of dollars in today's money. So this was a major racket that the newspapers were really able to to build towards an effort that ultimately dismantled them. Now the Stories behind the Big Story website notes that McCartney continued to work at the paper until the 1970s and passed away in 1994. And there is a box of his correspondence at Emory University. And if anyone is curious whether there's any correspondence about the Big Story, you can go to Emory University. You have to give about a two day advance notice and follow all their policies to view the collection. The other thing that website notes is that the script was written by Gail Ingram. She and her husband were both radio writers and her husband took this script and rewrote it in the Casey crime Photographer universe as the story Unlocking numbers in terms of plot. I had a couple of thoughts on the episode. First of all, this is the type of story that could not happen in the information age because if a criminal organization was mad at a reporter, then most people of importance would know exactly what he looked like. Though on this topic, I think the most obviously fictionalized part of this is Tiny. The events in this story were much more recent than many other episodes we've heard. And if you lightly fictionalized aspects of how he got his information, it would probably have put his informants at risk. So we just have one guy who couldn't shut off and had just to tell everybody about everything. Let me go ahead and tell this one random gambler about our plan. Planned murder. Though I guess in terms of having a big mouth, that one policeman who ran in and blew McCartney's cover, he deserves an entry. Although I think Tawny's guess was a bit of a leap. I mean, Mac was a very popular nickname for Scottish people. And do you know how many people of Scottish heritage are in the state of Georgia? But the association with the police. Maybe the yellow house scene was one of those things that they tried to make dramatic for radio, but to me, it just didn't work. McCartney gets the tip from Jeannie and then sees the house. And McCartney says, Gene, do you see the number on this house right here? She says, it says 224 on the stoop. And he says, I just got an anonymous phone call to cover a story at number 224. Then Gene says, but what has that. Oh, and with a gasp. See what I mean? 224 is a yellow house. Now, in theory, this is supposed to reveal to the audience that he stumbled on to the yellow house and almost went into it. The yellow house. But the problem is that we already knew that. That was already established where Dan Holbert and Tawny were talking. And if I heard that somebody was going to be taken care of at a yellow house and I saw them walking towards a yellow house, I would understand the implication of that. So that one part was a bit awkward. Well, listener comments and feedback now. And we have a couple of comments. We start with Harrison over on Spotify, writing regarding the episode Pillars of Society. I'm glad I wasn't the only one who thought the hoops he had to jump through was a bit extreme.

[A]

Thanks, Harrison.

[C]

And it should be said that a lot of people were quite dissatisfied in real life with the pace at which the case was addressed. I read through letters to the editor where people were wondering, okay, so it's been since April of 37 that the governor's chief advisor has recommended a pardon. Why is this taking so long? And Governor Davie was an incumbent administration had a lot of problems. He got ousted in the primary by a reform candidate. I don't think that the pardon issue was at the forefront, but there was a great sense of idea that Governor's integrity was in question and it would be a risk to his Democratic Party if he were to be nominated. Although the reform candidate who defeated Governor Davie also lost in the fall. Mechanic 66 writes, seems like a young thief would start with a candy store and progress to Grand Theft Auto and older, not the other way around. Well, some people have to be contrary. And then over on YouTube regarding the episode Manhunt in Manhattan, Betsy writes, Good episode. Thank you. The algorithm is making it harder to find you, but I personally persevere. Well, I appreciate it, Betsy, and honestly, YouTube has been doing some things When I look at the stats, the click through rates on my episodes posted on YouTube are about the same as they were before. The problem is that YouTube isn't serving them up to as many listeners and the algorithm often does strange things for inexplicable reasons, which is why I always encourage people listening on YouTube to like the video, subscribe to the channel, mark the notification bell because those are the sort of things that help our content to be seen more on YouTube. And in the case of marking the notification bell, it also ensures you get notified when we drop a new episode. Well, now it's time to thank our Patreon Supporter of the Day. And I want to thank Splanator, patreon supporter since September 2020, currently supporting the podcast at the shamus level of $4 or more per month. Thanks so much for your support, Splanator, 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 Mobby.

[A]

Where this lady, Danny, she wanders in off the street, says she's looking for help. She saw the police.

[B]

I want to go home. Take me home, someone.

[A]

Don't be frightened, Will.

[B]

I hate it. It's ugly and dirty and they laugh at a woman. Wouldn't she? All I wanted was to make friends. I bought new things, paid their way. Why I shouldn't have to pay for things back home.

[A]

They said, where is your home, miss?

[B]

They say that Mrs. Price, that Elizabeth, she's a deep one, more than meets the eye. You could light marsh fires with Elizabeth.

[A]

Where do they say that, Mrs. Price?

[B]

In Vermont. In the Village. When I walk down Main street to shop, put in provisions, I hear their.

[A]

Whispers so loud, you'll be all right, lady. You are now in Danny Clover's hands. And for an out of town, a lost, unhappy.

[B]

Please.

[A]

What's the matter?

[B]

I heard it. That's Tom.

[A]

Bill.

[B]

Captain. My first. Get it.

[A]

Sure. Quickly. Water. Jim. Roger. We'll go. Your purse, Mrs. Price. Give it him. Don't hold on so tight. That's it. Let me open it for you. Please.

[B]

Yes. Give them to me.

[A]

Here. Thank you. What is she on?

[C]

Danny?

[A]

Give it to her. Gina. Oh, sure. Sorry, Mrs. Price. Here.

[B]

Cool.

[A]

Good.

[B]

Wolf. Look so pale. Don't look like that. There's nothing to be afraid of. They happen often, these attacks. They come.

[A]

Go, Mrs. Price. Danny. She fainted. Shall I go yell for Dr. Sinski? Shall I?

[B]

What can I do?

[A]

Danny? Tell me what. Nothing, Gina. Nothing. She's dead.

[C]

I hope you'll be with us then. In the meantime, send your comments to Box [e-mail] follow us on Twitter at Radio Detectives and check us out on Instagram. Instagram.com Great Detectives from Boise, Idaho, this is your host, Adam Graham, signing off.