Yours Truly Johnny Dollar: The Latin Lovely Matter (EP4663)

Summary

Podcast Summary: The Great Detectives of Old Time Radio
Episode: Yours Truly Johnny Dollar: The Latin Lovely Matter (EP4663)
Release Date: March 28, 2025
Host: Adam Graham
Podcast: The Great Detectives of Old Time Radio

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Introduction

In the fifteenth season of "The Great Detectives of Old Time Radio," host Adam Graham delves into the intriguing world of "Yours Truly Johnny Dollar," spotlighting Episode 4663 titled "The Latin Lovely Matter." This episode presents a captivating narrative of mystery, deception, and moral dilemmas, set against the backdrop of 1950s America. Adam Graham not only narrates the story but also provides insightful commentary, explores listener feedback, and discusses the evolution of radio commercials within the context of the episode.

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Episode Plot Summary

Act One: The Mysterious Call

The episode opens with Johnny Dollar, a meticulous insurance investigator, receiving an unexpected call from Carmela Hocares, a beautiful Latin American dancer entangled in a convoluted insurance policy with multiple beneficiaries. (00:59) Carmela seeks Johnny's expertise to resolve her incessant policy changes, which have burdened the Universal Adjustment Bureau.

Notable Quote:

Carmela Hocares: "I love you." (03:18)

Act Two: The Investigation Deepens

Johnny visits the Universal Adjustment Bureau to discuss Carmela's case with Pat McCracken. Pat reveals the complexities of Carmela's policy, highlighting her pattern of changing beneficiaries to the point of administrative chaos. (07:40) Johnny's professional detachment is tested as he grapples with personal emotions stirred by Carmela's allure.

Key Developments:

• Carmela's aggressive policy modifications raise red flags.
• Pat suggests involving Martha Mayberry Balderdale, an experienced investigator.
• Johnny receives Carmela's address in New York, prompting him to investigate further.

Notable Quote:

Pat McCracken: "Client relationships in our business should be entirely objective." (07:43)

Act Three: Confrontation and Revelation

Upon arriving at Carmela's New York apartment, Johnny discovers her unconscious state after an apparent assault. As he tends to her, Carmela recounts the attack by a mysterious man threatening her insurance dealings. (14:21) The plot thickens when Johnny encounters Federico Gomez, the vengeful father of one of Carmela's previous victims. Gomez reveals Carmela's manipulative tactics of seducing young men to secure hefty insurance payouts, leading to their emotional and financial ruin. (17:30)

Climactic Twist: Federico Gomez confronts Johnny, revealing his intent to protect his son from Carmela's deceitful schemes. A tense standoff ensues, culminating in Johnny's strategic response to Gomez's threats.

Notable Quote:

Federico Gomez: "I will kill you before I let you help that woman ruin my son." (18:08)

Conclusion: Justice Served?

After a series of confrontations and emotional appeals, Johnny exposes Carmela's fraudulent activities, leading to her vow of reformation. However, the plot takes an unexpected turn when it’s revealed that Carmela named Johnny as the final beneficiary of her policy, solidifying his professional and personal entanglement with her. (23:12)

Notable Quote:

Johnny Dollar: "Yours truly, Juanito Peso." (23:00)

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Host Commentary and Insights

Commercial Evolution: Adam Graham highlights the transition from single-sponsor radio shows of the Golden Age to the multi-advertisement format reminiscent of modern radio. (22:46) He notes the shift in economic viability and the diverse range of products now featured in commercials, enhancing the listening experience by showcasing a variety of advertisements rather than a singular focus.

Notable Quote:

Adam Graham: "It's very reminiscent of modern radio commercials... we get to sample a variety of different commercials rather than hearing about a single product." (22:04)

Listener Feedback: Graham addresses listener critiques regarding plot plausibility and character actions. A notable comment questions the realism of firearm usage and the logical consistency of the killer's motives. (26:24) Graham responds by acknowledging the inherent challenges in translating intricate plots from audio to visual mediums and defends the storytelling choices as reflective of traditional radio drama tropes.

Notable Quote:

Host Adam Graham: "The idea of killing Johnny is based on the fact that Johnny has figured out how he committed the first murder and nobody else is on to him." (22:56)

Character Analysis: Discussion extends to the versatility of actors like Lorene Tuttle, emphasizing her ability to embody diverse roles, thereby enriching the narrative depth of episodes like "The Latin Lovely Matter." (22:26)

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Key Themes and Insights

1. Deception and Betrayal: Carmela's manipulative behavior underscores themes of trust and exploitation within personal and professional relationships.
2. Moral Ambiguity: Johnny's internal conflict between professional duty and personal emotions highlights the complexity of ethical decision-making.
3. Justice and Redemption: The resolution of Carmela's storyline offers a commentary on the possibility of personal reform and the pursuit of justice.

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Notable Quotes with Timestamps

• Carmela Hocares: "I love you." (03:18)
• Pat McCracken: "Client relationships in our business should be entirely objective." (07:43)
• Federico Gomez: "I will kill you before I let you help that woman ruin my son." (18:08)
• Johnny Dollar: "Yours truly, Juanito Peso." (23:00)
• Adam Graham: "It's very reminiscent of modern radio commercials... we get to sample a variety of different commercials rather than hearing about a single product." (22:04)
• Host Adam Graham: "The idea of killing Johnny is based on the fact that Johnny has figured out how he committed the first murder and nobody else is on to him." (22:56)

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Conclusion

"The Latin Lovely Matter" serves as a compelling installment in the "Yours Truly Johnny Dollar" series, blending intricate storytelling with timeless themes of love, deceit, and redemption. Adam Graham adeptly balances narrative exposition with insightful commentary, enriching the listener's experience. The episode not only entertains but also prompts reflection on the evolution of radio dramas and their enduring appeal.

Listeners are encouraged to engage with the podcast through comments, social media, and support via Patreon, ensuring the continuation of such captivating storytelling. Upcoming episodes promise further adventures and mysteries, maintaining the legacy of the Golden Age of Radio detective dramas.

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Stay Tuned:
Join Adam Graham next week for another thrilling episode of "Yours Truly Johnny Dollar" and explore more classic detective tales on "The Great Detectives of Old Time Radio." Don't forget to subscribe on your favorite podcast platform or visit greatdetectives.net for more information.

Transcript

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[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 yours truly, Johnny Dollar. But I do want to encourage you if you're enjoying the podcast to follow us using your favorite podcast software and as you're making your travel plans, remember johnnydoller air.com johnnydollerair.com is a Priceline affiliate link, so part your purchase price supports the great detectives of Old Time Radio at no additional cost to you. Now, from December 29, 1957, here is the Latin lovely matter.

[Bob Bailey]

From Hollywood. It's time now for.

[Johnny Dollar]

Johnny Daller.

[Carmela Hocares]

I love you.

[Johnny Dollar]

Hello.

[Carmela Hocares]

I said I love you.

[Johnny Dollar]

Yeah.

[Carmela Hocares]

That does not please you?

[Johnny Dollar]

Oh, pleases me. Fine. Now why don't you and I get together and we'll be able. Well, just name the time and the place and. Hey, wait a minute. Who are you?

[Carmela Hocares]

Carmelo Hochares, Johnny.

[Johnny Dollar]

Oh, let's get down to earth, Carmela.

[Carmela Hocares]

Yes, Johnny.

[Johnny Dollar]

Well, I. Well, usually when my phone rings this way on a Sunday night, I know.

[Carmela Hocares]

You expect some dull insurance agent to be calling you.

[Johnny Dollar]

Yeah.

[Carmela Hocares]

With a dull insurance matter for you to worry about, no?

[Johnny Dollar]

Yeah, that's usually the case.

[Carmela Hocares]

But this one does not need to be dull.

[Johnny Dollar]

You mean you have an insurance problem on your mind?

[Carmela Hocares]

Of course. So maybe you will help me.

[Johnny Dollar]

Well, just name the company, any company, and I'm on my way.

[Carmela Hocares]

The Universal Adjustment Bureau.

[Johnny Dollar]

So who cares if they're interested? Come on, Carmela, get to the point, huh?

[Carmela Hocares]

Come see me, Johnny. Tell your friend Pat McCracken at the Universal.

[Johnny Dollar]

Yeah, sure. Tell him what?

[Carmela Hocares]

That I called you. Will you, Johnny?

[Johnny Dollar]

Are you kidding?

[Carmela Hocares]

Goodbye.

[Johnny Dollar]

Yeah, well, where can I. Hello? Hello? Huh?

[Bob Bailey]

Bob Bailey in the exciting adventures of the man with the action packed expense account. America's fabulous freelance insurance investigator.

[Johnny Dollar]

Yours truly, Johnny Dollar.

[Bob Bailey]

Now that the holiday season is with us, there are three different reasons why you should have several packages of Chef Boyardee pizza pie mix handy in the house. The reasons are friends who drop in for lunch, friends who drop in for supper. And friends who come over just to say hello. Because pizza is perfect to serve friends and family any time of the day. And when you use Chef Boyardee pizza pie mix, it's so easy. You see, everything you need is right there in the one Chef Boyardee pizza package that you keep on your cupboard shelf. Needs no refrigeration. You get the flour that turns into crispy golden crust. Chef's own pizza sauce made according to the very same recipe Chef Boiardi brought with him from Italy. And even mellow Italian style cheese already grated to become a delicious bubbling topping. Serve everybody pizza this holiday season. They'll love it. And you will find pizza is so easy to make when you use Chef Boyardee pizza pie mix. Get several packages and now act one of yours truly, Johnny Dol.

[Johnny Dollar]

Expense account submitted by special investigator Johnny Dollar to the home office Universal Adjustment Bureau, Hartford, Connecticut. Following is an account of expenses incurred during my investigation of the Latin lovely matter. Expense account items 1, 2, 3, 4 and 5. 50 cents for phone calls early Monday morning trying to reach Pat McCracken. Item six, a dollar taxi fare to the offices of Universal Adjustment.

[Pat McCracken]

Oh, hi, Johnny. Top of the morning to you.

[Johnny Dollar]

Yeah, where the Sam Hill have you been all morning, Pat?

[Pat McCracken]

All morning? You kidding? Look the clock on this desk says exactly 9:02. For me, that's the crack of dawn. Now, what's bothering you?

[Johnny Dollar]

Carmela.

[Pat McCracken]

Oh, Carmela Jochariz.

[Johnny Dollar]

Yeah. Only it's Hocares.

[Pat McCracken]

Oh, well, might have known she'd call you direct. I should have warned you, Johnny.

[Johnny Dollar]

You know her, Pat.

[Pat McCracken]

She's threatened to come down here and camp on my doorstep any minute.

[Johnny Dollar]

Can you think of a nicer ornament to have around if she's anything like she sounds?

[Pat McCracken]

Oh, she is, she is, Johnny. Yeah. That's why I should have suggested that special investigator Martha Mayberry Balderdale help her.

[Johnny Dollar]

Balderdale? How could an old battle ax like her know how to deal with a young, charming, beautiful dancer like Carmela? Dancer? Is that what she is? Yes, yes.

[Pat McCracken]

Not very good, but she's just as beautiful and seductive. No, no, no. Maybe I better stick old lady Baldadayla.

[Johnny Dollar]

All right, Pat, quit the kidding and tell me what it's all about.

[Pat McCracken]

Who's kidding?

[Johnny Dollar]

Where do I find Carmela? Her address.

[Pat McCracken]

Now, you see, you're already emotionally involved with her. You haven't even met her.

[Johnny Dollar]

Emotionally?

[Pat McCracken]

Client relationship in our business should be entirely objective. Johnny, how can I possibly expect you to look at Carmela's insurance problem with an unbiased. Oh, Pat, all she'd have to do is bat those lovely big brown eyes at you. You a couple of.

[Johnny Dollar]

Look, look, will you stop baiting me and tell me what this is all about? Emotions.

[Pat McCracken]

All right. I got involved with this little Latin lovely as a favor to the company that issued her the policy. Surety Mutual and Trust.

[Johnny Dollar]

What kind of a policy?

[Pat McCracken]

Retirement. Pays her 50,000 when she's 45. Meantime, if she dies, her beneficiary gets the 50 grand.

[Johnny Dollar]

So what's the matter with it?

[Pat McCracken]

Ah, well, like I told you, Johnny, she's a dancer. Nightclubs always has a partner. Some good young kid who can make up for her shortcomings. Only a different partner every month or so.

[Johnny Dollar]

Well, what's that have to do with her insurance?

[Pat McCracken]

Well, she has the company name her partner as beneficiary.

[Johnny Dollar]

Oh, I see. And if she keeps changing her policy.

[Pat McCracken]

Right. And by now it has so many writers attached to it, the company's running out of filing space. And what's more important, the cost of servicing this one lousy policy and the time that's been wasted on it. And the last time, well, she's been so insistent, you'd think she was planning to die tomorrow.

[Johnny Dollar]

Well, maybe she is. Why doesn't the company just stall on Making some of these changes.

[Pat McCracken]

Well, they've tried that. So, what happens? She's on the phone every day, two or three times a day. Nobody has any peace. That's why they finally turned to me in desperation.

[Johnny Dollar]

And you said you'd have me talk to her.

[Pat McCracken]

I did not. She asked for you.

[Johnny Dollar]

Why? How'd she even know about me?

[Pat McCracken]

Oh, newspapers, some of the radio programs about the cases you've handled. Johnny, you're her idol. You're her dream boy.

[Johnny Dollar]

Oh, yeah, sure, but what to do about this?

[Pat McCracken]

Well, you get her to settle with one beneficiary. Get her married. Something like that. So our policy will stay set for a while.

[Johnny Dollar]

Yeah.

[Pat McCracken]

Married. Even if you have to. Yeah.

[Johnny Dollar]

You, huh?

[Pat McCracken]

Yeah.

[Johnny Dollar]

Oh, no, you don't. Not me.

[Pat McCracken]

Oh, no, no, no. It's a great idea, Johnny. Her address is 624 East 47th Street, New York. Now, you look, just remember one thing. Universal Adjustment Bureau will not pay for your defense in the breach of promise suit. John, it's all away or nothing.

[Johnny Dollar]

Oh, yeah, sure. Call me up sometime when you have a case for me. Sucker me? That is because of item 7, 1940 plane fare and incidentals to New York City. Taxi from the airport to 624 East 47th Street. A nice modern apartment building, complete with uniform doormen.

[Doorman]

Ms. Hochares?

[Johnny Dollar]

That's right.

[Doorman]

Can I have your name, sir?

[Johnny Dollar]

Johnny Dollar.

[Doorman]

Oh, yes, of course.

[Johnny Dollar]

So if you'll just give me her apartment number.

[Doorman]

And may I see your credentials, please?

[Johnny Dollar]

My credit? Sure, why not? Here, take a good look.

[Doorman]

Seems all right. Thank you, sir.

[Johnny Dollar]

Now, look, she's expecting me.

[Doorman]

I know, sir.

[Johnny Dollar]

Then what's all this fuss about?

[Doorman]

Will you step in the lobby, please?

[Johnny Dollar]

Oh, sure. Now, what's the number of her apartment?

[Doorman]

One moment, please. Is.

[Johnny Dollar]

She is in, isn't she?

[Doorman]

Yes, she is. I don't understand about answering the house phone, though.

[Johnny Dollar]

You're certain that she's in?

[Doorman]

Absolutely, sir. Why? She doesn't answer.

[Johnny Dollar]

Where's her apartment?

[Doorman]

It's number seven. Up the stairs.

[Johnny Dollar]

Come on, show me the way.

[Doorman]

Yes, sir. She only came in a few minutes ago.

[Johnny Dollar]

And nobody else has called on her?

[Doorman]

No, sir.

[Johnny Dollar]

Were all those precautions of yours on her orders?

[Doorman]

Yes, sir. She seemed to be fearful of something lately.

[Johnny Dollar]

Fearful?

[Doorman]

Right here, sir. Number seven.

[Johnny Dollar]

That's funny. The Socares. The Socates. Carmilla.

[Doorman]

Listen.

[Johnny Dollar]

Now what?

[Doorman]

That sound inside. There must be somebody here.

[Johnny Dollar]

You got a pesky?

[Doorman]

Well, yes, sir.

[Johnny Dollar]

Or, come on, give it to me quick.

[Doorman]

But unless you have some authority, Mr.

[Johnny Dollar]

D, I have all I need. Carmela, Mr. Dollar, she's been killed. No, no, she's alive, all right. But that's.

[Bob Bailey]

Act two of yours truly, Johnny Dollar. In a moment.

[Johnny Dollar]

There is a difference A great big difference in fixed medicated cough drops There is a difference A great big difference.

[Bob Bailey]

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[Johnny Dollar]

There is a difference A great big difference In Vicks Medicated cough drop Some medication makes the difference. Yes, the medication makes the difference.

[Bob Bailey]

And for a stuffy nose, just one whiff with a Vicks inhaler and that miserable feeling of a stuffy nose goes in seconds. Use it anywhere, anytime. Vicks inhaler. And now, act two of yours truly, Johnny Dollar and the Latin lovely matter.

[Johnny Dollar]

Carmelo Hocares, beautiful Latin American dancer who kept changing the beneficiary of her insurance policy to the point where the company was going crazy. Who demanded another change, this time almost desperately. We'd found her unconscious on the floor of her apartment. Bill the doorman discovered how her assailant.

[Doorman]

Had got in through the service entrance into the kitchen, said Dollar. He must have run away when he heard us at the door.

[Johnny Dollar]

Any brandy, anything like that around here? Bill?

[Doorman]

Yeah. There's a little bar there in the corner.

[Johnny Dollar]

Okay, I see it. Do you know a doctor you can call?

[Doorman]

I have a list on my desk in the lobby.

[Johnny Dollar]

Well, then go on down and call him.

[Doorman]

Isn't this a matter for the police?

[Johnny Dollar]

I'll worry about that. You get a doctor up here. Yes, sir. Camilla. Camilla. Camilla. Here, see if you can drink this.

[Carmela Hocares]

Oh, Johnny.

[Johnny Dollar]

That's right. Come on now, drink this. That's good. A little more now. Come on.

[Carmela Hocares]

Oh, no, no. I'm all right now. Help me to the sofa.

[Johnny Dollar]

Yeah, sure. You know. Hey, R. How's that?

[Carmela Hocares]

Thank you. Johnny. Dog.

[Johnny Dollar]

Are you badly hurt? What happened?

[Carmela Hocares]

He struck me.

[Johnny Dollar]

Oh.

[Carmela Hocares]

He knocked on the back door. I thought it was Billy to deliver something, so I opened the door and he struck me before I could. Oh, Johnny, it was terrible.

[Johnny Dollar]

Who was he? Do you know?

[Carmela Hocares]

No, darling, I am still so afraid. Hold me. Please. In your arms.

[Johnny Dollar]

Carmilla. Do you know who it was?

[Carmela Hocares]

No. It was then he heard you and Billy at the front door.

[Johnny Dollar]

And you have no idea who it could have been?

[Carmela Hocares]

Well, he was short and Dark. And Johnny. Yeah, the man who has been calling me first from Mexico and him from here in New York, threatening me.

[Johnny Dollar]

Well, who?

[Carmela Hocares]

I do not know, darling.

[Johnny Dollar]

Threatening about what?

[Carmela Hocares]

You have done it once too many, he would say. Now you will be sorry. And he would hang up.

[Johnny Dollar]

Done what once too many or too often or whatever he meant.

[Carmela Hocares]

I do not know, Johnny.

[Johnny Dollar]

Well, I know darn well the insurance company would never carry things this far.

[Carmela Hocares]

The insurance? Johnny. Johnny, you can't do it for me, can't you, darling?

[Johnny Dollar]

Do what?

[Carmela Hocares]

I only ask them to make a little change, but all they do is delay. Delay.

[Johnny Dollar]

Oh, now look, we have more important things to think about now.

[Carmela Hocares]

More important than the insurance? Oh, you do not understand. Please, my sweetheart, how can I work unless Armando is.

[Johnny Dollar]

First we find out who attacked you and why.

[Carmela Hocares]

Oh, dearly, darling.

[Doorman]

The doctor says he'll be here in 15 to 20 minutes.

[Carmela Hocares]

No, not the doctor. I love you, Billy, but you are a nice boy. But not the doctor.

[Johnny Dollar]

Why not?

[Carmela Hocares]

Because. Because I am all right. Now.

[Johnny Dollar]

You're sure about that, Carmela?

[Carmela Hocares]

Yes, yes, I am all right.

[Johnny Dollar]

You know, you recovered pretty fast. No marks on you.

[Carmela Hocares]

What do you mean?

[Johnny Dollar]

I wonder just how much of a beating you really took.

[Carmela Hocares]

Johnny, my darling, my love, surely you do not think.

[Johnny Dollar]

I'm not sure what I think. Okay, Billy, call off the doctor until I can find out what's what.

[Carmela Hocares]

Thank you, my sweet. You do care about me. I love you.

[Johnny Dollar]

Oh, yes, you are. And Billy boy, you stay here until I get back.

[Carmela Hocares]

Yes, my Juanito. Where are you going?

[Johnny Dollar]

You know something, Carmela? I wish I knew. I know where I was going all right. To 18th Precinct police headquarters and my old friend Randy Singer. If anybody could get me a rundown on Carmela in any of her contacts, he could. If Carmela's attacker left any fingerprints, his boys would find him cutting through the alley beside the apartment building. Headquarters would only be a couple of blocks away. But all that alley was a mistake. I didn't see the man step out of the doorway behind me. But I did feel that old familiar poke in the smaller my back.

[Federico Gomez]

No, keep walking, senor, to the next doorway.

[Johnny Dollar]

Now look, if you'll take that gun out of my back.

[Federico Gomez]

Walk.

[Johnny Dollar]

What is this, a hold up?

[Federico Gomez]

Now, in here. Well, I am Federico Senhor$.

[Johnny Dollar]

Only for you. So what?

[Federico Gomez]

I could hear you from the back stairway of her apartment.

[Johnny Dollar]

So you would help her, eh, Camila? Maybe.

[Federico Gomez]

No, you will not. Because I will kill you first.

[Bob Bailey]

Act three of yours truly, Johnny Dollar. In a moment. And now, act three of yours truly, Johnny Dollar and the Latin Love.

[Federico Gomez]

You hear me? I will kill you.

[Johnny Dollar]

Do you mind telling me why I.

[Federico Gomez]

Will kill you before I let you help that woman ruin my son?

[Johnny Dollar]

Your son?

[Federico Gomez]

You are from the company for the insurance, are you not?

[Johnny Dollar]

Yeah, that's right.

[Federico Gomez]

To make her the change in the policy. To change what you call the benefit.

[Johnny Dollar]

The beneficiary, yes, that's what she's asked for.

[Federico Gomez]

But I will not let you.

[Johnny Dollar]

Well, I haven't said I. Oh, look, put away that gun, will you?

[Federico Gomez]

No.

[Johnny Dollar]

Okay. Chief.

[Federico Gomez]

What?

[Johnny Dollar]

Be careful. This man is armed.

[Federico Gomez]

What are you calling policy here?

[Johnny Dollar]

Just a birdie. You're a no. Give me that gun.

[Federico Gomez]

No, no, I.

[Johnny Dollar]

All right, now we're on even terms. Just who are you and what's this all about?

[Federico Gomez]

I'm Federico Gomez, the father of Armando.

[Johnny Dollar]

Who's Armando?

[Federico Gomez]

Armando, my son. He would be the next fly in the web of this spider.

[Johnny Dollar]

The what?

[Federico Gomez]

That woman, Carmela Hochares. It is my boy, my fine son, that she would make her victim like all the others.

[Johnny Dollar]

Like all what others? Look, Mr. Gomez.

[Federico Gomez]

He is a dancer, my son, a fine dancer. The toast of all Mexico. And she would do with him what she did with the rest. Charm them, make love to them, bring them here to this city to dance with her. Unless I stop her.

[Johnny Dollar]

Well, I fail to see anything particular.

[Federico Gomez]

And like the others, my son would fall in love with her with all his heart, with all his soul, with all his mind.

[Johnny Dollar]

Yeah, I'm sure.

[Federico Gomez]

But she. Oh, of course she would prove her love for him with all the big insurance benefit.

[Johnny Dollar]

You mean that naming those lads in her insurance policy? Oh, now, wait a minute.

[Federico Gomez]

You do not know what 50,000 of Euro American dollars can mean to a young man fresh in his, what you call, career? Mr. Gomez, is it not true?

[Johnny Dollar]

Well, yeah. It's a lot of dough to hold up in front of a young fellow. But there's a big difference between that much cash and just a promise of insurance money.

[Federico Gomez]

The eyes of a young man are easily blinded by this beautiful woman, amigo. She has blinded so many. They have danced with her and given her their money because they loved her. But when she got their money, she was through with them. When they begged her to marry them, she spit on them. She turned them out. Pedro Fernandez, you know of him?

[Johnny Dollar]

No, I'm afraid I don't.

[Federico Gomez]

Because of this woman, he killed himself. So it was with Jimenez, the son of my friend. But she will not do this to my son.

[Johnny Dollar]

And you honestly think the mere fact of a big Insurance policy.

[Federico Gomez]

Was it not true? With Jimenez, with Pedro, with angel, with all the rest. These were young men, amigo, like my son. Unwise to the world, Unwise to a woman like this.

[Johnny Dollar]

Suicide.

[Federico Gomez]

I will do anything to keep her from using that insurance to ruin my son. Senor.

[Johnny Dollar]

The more I live in this world, the more amazed I am at some of the things that happen in it. Things that are implausible, impossible, but that sometimes do happen.

[Federico Gomez]

I can only beg of you humbly.

[Johnny Dollar]

All right. Look, Mr. Gomez, I'm keeping this gun. By rights, I ought to have you locked up for poking it in my back for your attack on Carmilla. But I. Where are you staying?

[Federico Gomez]

At the Hotel de Glen Arms.

[Johnny Dollar]

I want you to go back there. Stay there until you hear from me.

[Federico Gomez]

You will help me, senor?

[Johnny Dollar]

If you'll do as I say.

[Federico Gomez]

Gracias, senor. Gracias.

[Johnny Dollar]

The scene with Carmela back in her apartment was not a pretty one. She not only admitted to having used the insurance, among other things, to further her shaky career at the expense of those young and better dances, but was quite proud of the broken hearts and broken minds she may have left behind. Until I tore into her. And believe me, I did murder.

[Carmela Hocares]

Oh, no, Juanito.

[Johnny Dollar]

Now, you look. If you didn't murder those two young kids, well, you might as well have plunged in the knife yourself. I don't know. I don't know what laws, what legal action may be dragged in to make you pay for what you've done. But there are moral laws too. Laws of decency. I'll tell you this, Carmilla, that from now on, the police of this town and of anywhere else you may go, believe me, they'll be gunning for you. And if anything like this ever happens again.

[Carmela Hocares]

No, Johnny. Johnny, please, you must believe me. I did not think. I was thinking only about myself. I did not realize.

[Johnny Dollar]

Well, it's high time you did. Your insurance. Oh, baby, that's gonna be canceled unless you can think of someone far away from your career to leave your money to. Someone you can't hurt.

[Carmela Hocares]

Oh, Johnny, I promised. Don't you see? Never before has anyone made me realize what I was doing. I have only had to think of myself.

[Johnny Dollar]

By the time I left her, she was sobbing her heart out, promising that she'd spend the rest of her life making up for the things she'd done. And who knows? Maybe. Well, who knows? Expense account total, including incidentals and transportation back to Hartford. Johnny Dollar, Pat McCracken.

[Bob Bailey]

Johnny.

[Johnny Dollar]

Oh, hi, Pat. Well, I just got around to Finishing up my report and expense account on that Carmelo Hokare's thing last week.

[Pat McCracken]

Just forget the expense account part of it.

[Johnny Dollar]

I got what?

[Pat McCracken]

For the life of me, I don't know how you did it.

[Johnny Dollar]

What are you talking about?

[Pat McCracken]

The company just sent me a copy of the rider. Johnny. The last and final rider on her policy.

[Johnny Dollar]

Oh.

[Pat McCracken]

Naming the new beneficiary. And absolutely, irrevocably can never be changed again.

[Johnny Dollar]

Whom did she name? Pat? Some old childhood.

[Pat McCracken]

Are you kidding?

[Doorman]

You.

[Johnny Dollar]

What?

[Pat McCracken]

You slide dog.

[Johnny Dollar]

Hello? Hello? Well, I'll be. Yours truly, Juanito Peso.

[Bob Bailey]

Our star will return in just a moment. Meet movie star Dorothy Lamour. Actresses can't perform with a rotten cold.

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[Bob Bailey]

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[Johnny Dollar]

Four Way starts to relieve aches, pains.

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Headache, reduce fever, calm upset stomach, overcome irregularity.

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[Johnny Dollar]

Next week, some priceless jewelry, a beautiful girl and believe me, they add up to trouble. Join us, won't you? Yours truly, Johnny Dollar.

[Bob Bailey]

Yours truly, Johnny Dollar, starring Bob Bailey. Originates in Hollywood and is produced and directed by Jack Johnstone, who also wrote today's story. Heard in our cast were Lucille Meredith, Larry Dobkin, Jimmy McCallion and Harry Bartel. Be sure to join us next week, same time and station for another exciting story of yours truly, Johnny Dollar. This is Dan Cubberley.

[Johnny Dollar]

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If you submit an application, terms apply.

[Adam Graham]

Welcome back. I appreciated the acknowledgment by Joni that this was an unusual situation, a woman using a life insurance policy to seduce young men. But Joni's basic statement is the longer I live, the more improbable things I say, and I think that approach makes this as believable as it could be. Although her final beneficiary choice was probably not something Johnny would have desired under any circumstance. Really, I wonder when the teasing will stop on that. It's worth noting the change in approach to commercials, since we don't often hear the commercials, given the sheer number of Armed Forces Radio and Television Service episodes that we have during the height of the golden age of radio shows relied on a single sponsor to underwrite the show, and the commercials would all be targeted to that sponsor. And occasionally a sponsor might have multiple products, but that was the general rule. By the time you get to the late 1950s, it really does not make sense economically for a company to put out enough money to sponsor a whole program. And so this is very reminiscent of modern radio commercials, although to my mind I tend to think we have more radio commercials than we did during the era. It's also nice because we get to sample a variety of different commercials rather than hearing about a single product like Miracle Whip or something like that. And I think this is actually a pretty fun era for commercials, so I'll be looking forward to hearing more as we get to more episodes that actually do feature commercials. Now we turn to listener comments and feedback and we have a comment regarding the Hapless Hunter matter that came in via email. The person sent it with their phone to my email but didn't sign it, so I don't actually know who emailed me, but the email Adam, thanks for your critique of this episode the Hapless Hunter. I agree with every word of what you said, but there is so much more. This episode exemplifies why I think Johnny peaked before Bailey and Johnson. There was scarcely a plausible moment in the episode. I can tell by some of your previous comments that you are not very experienced around firearms, and it may not be so obvious to you, but a person just can't shoot themselves with a.30 like that. With that result, not only would the rifle still be hanging from the ceiling, but how did he get the second victim to lay on the floor and wait for him to shoot him under the chin? There's no way he could have made the gun look like it would have had the fella committed suicide subsequently. No one, no way anyone would have believed the story. Also, killing Johnny would have guaranteed his not getting the insurance money. So why would he put himself in that position? Finally, I just can't root for a hero that needs to be rescued all the time. I'm furious when Johnny accidentally survives because someone else bumbles into the scene. Well, I appreciate you emailing in and certainly some good points here. I think that one of the things with the firearms is that regardless of my experience, I think Jack Johnstone actually had decent general knowledge about firearms. But from a sporting perspective, you think back a few weeks ago to the Three Sisters matter and you had that rifle with that very rare ammo. Johnstone was an outdoorsman, but not really a big crime writer or crime expert. And of course he's riding in the radio medium. So only those with really more intimate knowledge of how weapons work will have to deal with the images of how this might play out. I think it becomes a lot harder to do in a visual medium where you can actually see these and you can kind of say, how exactly is that going to work? The idea of killing Johnny is based on the fact that Johnny has figured out how he committed the first murder and nobody else is on to him. So if he kills Johnny, then he gets away with it, at least in theory. And I guess operating under the assumption that he committed a clever and unlikely to be solved murder, that once he killed Johnny, the insurance company would send another insurance investigator out who wouldn't detect it. I know it doesn't sound logical, but really, if you evaluate stories where the killer tries to kill the detective, it rarely works out to making logical sense. The best justification is that it's revenge or it's some sort of trapped animal instinct lashing out and not really thinking logically. Then we turn to YouTube, we have some comments regarding the Broderick Matter omnibus and we start with Paul who writes, I've heard quite a few of the Johnny Dollar stories, including one which was interrupted to announce the call up of reservists to fight the Korean War. But this was an unusual one featuring character above Intrigue one said, enjoyed hearing this episode Again, thank you for sharing. And then regarding the Sunny Dream Matter, Saysoff writes, the guy in the first PSA sounds a lot like her. Herb Vigren. It is indeed, and that is one of Vagran's biggest recurring radio characters. Usually you hear him in one off roles, but for the Armed Forces Radio and Television Service he was Sergeant Donald Bellwether for a series of safety PSAs then we also have a couple comments on YouTube regarding the Matthew Slade episode who Killed My Pen Pal, Saysoft writes, paulie was a hoot and mechanic. 6682 writes, I can only imagine what kind of havoc Paulie would have wreaked had she been around with the Internet. Was that Lorene Tuttle? If so, as I suspect, as eccentric as Paulie was, she was tame compared to her usual roles other than Effie. That is a thought. Imagine some old time radio character, but only with the Internet. Now as to whether it was Loreen Tuttle, I wouldn't hazard a guess. There are two reasons. One I've talked about already. First is the sound quality, which I think is good enough to listen to, but not enough that you're going to be able to pick out and affirmatively identify a voice. The second is that Lorene Tuttle was one of those people who really could do a lot of voices that sounded very different from one another. So good luck saying it's her for sure. I would say, because I know from his comments on some of our old episodes he's been hearing a lot of Loreen Tuttle on Let George do it where she got some pretty extreme casting. I would say that Lorene Tuttle did a whole variety of roles, including a lot of roles where she was playing a character that was pretty grounded. Some of the characters that she played, she was the original actress portraying Gildersleeve's niece Marjorie on the Great Gildersleeve and she was also the West Coast Judy Price on Dr. Christian. That was a unique show in that depending on star Jean Herschel schedule, it could come from New York or Hollywood for an extended period of time. There was a period when if he was in New York, one actress would play Judy Price and then if he was in Hollywood, another actress would play his nurse Judy Price. And so Lorene Tuttle played that role when Hershel was out on the West Coast. But to not over complicate it, I would just say that I don't think there was such a thing as a typical Lorene Tuttle role because she would pretty much take any type of role. And not only was she an actress, she actually taught acting. So she was super versatile and super knowledgeable within the acting profession. Thanks so much for the comment. Well, now it's time to thank our Patreon Supporter of the day and I want to go ahead and thank Talia. Talia has been a patreon supporter since September 2018, currently supporting the podcast at the Psalmist level of $4 or more per month. Thanks so much for your support, Talia. And that will actually do it for today. If you're enjoying the podcast, please follow us using your favorite podcast software. And if you're enjoying the podcast on YouTube, be sure to like the video, subscribe to the channel, and mark the notification bell. All those great things that help YouTube channels to grow. We'll be back next Friday with another episode of Yours Truly, Johnny Dollar. But join us back here tomorrow for Dragnet, where.

[Johnny Dollar]

Just a minute. Yeah. Police officers. All right, open it up. Get out of here.

[Doorman]

Come on, get out.

[Johnny Dollar]

Watch your joke. All right, hold it, mister. Get out. Get out.

[Doorman]

All right, Jensen.

[Johnny Dollar]

That's good, Ben. I'll get him. All right, come on, get out.

[Doorman]

What's the pitch, huh?

[Johnny Dollar]

Where's your warrant? It's all over the floor.

[Bob Bailey]

Jensen.

[Johnny Dollar]

Marijuana.

[Doorman]

Who tipped? One of those lousy kids, huh? Which one?

[Johnny Dollar]

You guess. You know enough of them.

[Doorman]

You can't tap me for all that. I'm not the big guy.

[Johnny Dollar]

All right, then who is? I don't know.

[Doorman]

I'm only one of the mules.

[Johnny Dollar]

Where do you get your stuff?

[Doorman]

The big guy, the big tomato. That's what they call him. Yeah, Big man. Nobody sees him.

[Bob Bailey]

I don't even know what he looks like.

[Johnny Dollar]

Neither do you. You let us worry about that.

[Doorman]

Come on. A big tomato.

[Johnny Dollar]

That's what they call him. You won't get him.

[Doorman]

He's smart.

[Bob Bailey]

You won't get him in 89 years.

[Johnny Dollar]

Maybe not, but we'll get him.

[Adam Graham]

I hope you'll be with us then. In the meantime, send your comments to Box13greatdetives.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.

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