July 10, 2025 • 29 mins
Step into the world of a private investigator who solves complex cases with keen observation and intellect. His adventures are filled with suspense and unexpected twists.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
William Gargan stars as Barry Craig, confidential Investigator.
Speaker 2 (00:11):
Someone once said that murder is a fine art. There's
a catch, though. If you're a successful artist, they hang
your paintings. If you're a successful murderer, they hang you.
Speaker 1 (00:29):
The National Broadcasting Company presents William Cargan in another transcribed
drama of mystery and adventure with America's number one detective,
Barry Craig Confidential Investigator Barry Craig speaking, Even confidential investigators
(00:52):
need a vacation.
Speaker 2 (00:53):
Sometimes they've been known to take. For the place I've
chosen was Vermont. The main reason for that was Jake.
He was on vacation too. He decided to come home
and see if he'd been smart and abandoning Vermont to
run an elevator on Madison Avenue. Say, Jake, h, what's
(01:15):
the verdicts Madison Avenue? Why is Madison Avenue dark and
quiet like this? Noop? Is Madison Avenue surrounded by tall trees,
cooled by gentle breezes, filled with the fragrance of unspoiled nature.
And nope, Now what's Madison Avenue? Got that this place
hasn't girls?
Speaker 3 (01:36):
Well, you may be.
Speaker 2 (01:37):
Right, or you may be wrong. That came from directly
up the road. Nice night for Hey ride, is it? Yep?
Could have been giggle rather loud giggle. Girl's got very
loud giggles sometimes. Secondly on a Hey ride.
Speaker 3 (01:55):
Oh, Jake stopped pulling my leg.
Speaker 2 (01:58):
Hey, wait a minute, what's that in the road up
ahead of us?
Speaker 3 (02:01):
Hey?
Speaker 2 (02:02):
Wagon? I refuse to believe it, but it is filled
with hay. Usually I am there's.
Speaker 3 (02:08):
A horse out in front of it. But where is
the driver? Said Jake?
Speaker 2 (02:13):
Would would he have gone off and left the wagon.
Speaker 3 (02:15):
Out in the middle of the road.
Speaker 2 (02:16):
Team too likely.
Speaker 3 (02:19):
I'm coming up on that wagon. That girl, if it
was a girl, didn't giggle.
Speaker 2 (02:26):
She screamed, I'd better take a look around in the hay.
What for anything larger than a needle? Yeah, there's plenty
of hay up here. Anything else?
Speaker 4 (02:38):
No, what.
Speaker 2 (02:40):
Mis grag? I was rushing things? There is something else
up here? What a man, very pale man? What's he
doing up there?
Speaker 3 (02:52):
Nothing? Just being dead? They very still.
Speaker 2 (03:01):
His eyes stared up at the summer sky over head,
but saw.
Speaker 3 (03:04):
Neither the stars nor the moon. The moon that.
Speaker 2 (03:07):
Shone on him and on the metal handle of the
knife that was buried in his heart.
Speaker 3 (03:16):
He was wearing overalls and the work shirt.
Speaker 2 (03:19):
His short hair outlined clearly the skull beneath. There was
nothing I know anyone could do for him. Murdered, yes,
anything on him.
Speaker 3 (03:34):
No identification at all. Jake, we need a phone.
Speaker 2 (03:38):
Past farm house half my back.
Speaker 3 (03:40):
Let's go.
Speaker 2 (03:41):
I think it's all right leaving him there.
Speaker 3 (03:43):
He won't mind.
Speaker 2 (03:50):
E Vermont Knight was as quiet and peaceful as it
had been before I heard the scream, and the man
died of a knife wom lying a mound of hay.
Nature doesn't concern herself to mine about us and our doings,
which is very bright of nature. Got to turn off
the road to get to that farmhouse. Yeah, oh, somebody
(04:14):
ought to oil that gate. Whole house is pretty run down.
Speaker 3 (04:20):
Take it out.
Speaker 2 (04:21):
Ain't necessary. Those shots over our heads. Her ay might
improve her. But you can see a farmhouse window this time.
It's not the farmer with the shotgun. It's the farmer's daughter.
Spoil a lot of stories that way. She's left the window. Yeah,
she knows she didn't hit either of us. Those shots
(04:42):
are either a warning or possibly a yell for help.
How are you going to decide. Well, if it was
a warning, I don't think she'd have left the window,
so it must be a call for help. Come on,
that was real logical, mister Craig.
Speaker 3 (04:57):
Thanks.
Speaker 2 (04:58):
Let's hope it turns out to be true. There were
no more shot it dead or it didn't prove I'd
been like, because the shooting would be better once we
were inside the house. The first time I ever heard
(05:25):
of target. It's knocking on the door. The lady may
have had all the target shooting. She wants, who're there,
Barry Craig and Jake.
Speaker 4 (05:37):
Hello, Barry Craig, Yeah, and Jake me. Either of you
look very terrifying?
Speaker 3 (05:46):
Is that bad?
Speaker 5 (05:47):
No, it's nice. Please come in, thanks, Please make yourselves comfortable.
Nice room, lastick, perhaps, but I like it.
Speaker 2 (06:00):
Do you like being a farmer or or maybe I should.
Speaker 4 (06:03):
Say farmer's daughter.
Speaker 2 (06:06):
Very much, Almost as much as you like firing guns
at strangers.
Speaker 4 (06:11):
But I didn't know whether you were strangers or.
Speaker 2 (06:13):
Or what.
Speaker 4 (06:16):
Or dead men.
Speaker 2 (06:22):
Maybe she was what she claimed to me, a farmer's daughter,
But if she was, somebody's been.
Speaker 3 (06:26):
Telling me lies about farms.
Speaker 2 (06:29):
Her hairdo with sleek, as though it had been just applied.
Her fingernails that had a lot of professional attention. Her
dress was so simple it practically yelled paras at you.
And she didn't need any of these beauty aids. She
would have been beautiful without them, but not nearly so expensive.
You did say dead men? Yes, you often run across
(06:50):
dead men walking around? Yes?
Speaker 3 (06:52):
Uh huh.
Speaker 4 (06:53):
You think I'm crazy, don't you.
Speaker 3 (06:55):
I don't think you're crazy at all.
Speaker 2 (06:57):
You've just got uh a peculiar vision.
Speaker 4 (07:00):
I'm not sure I ought to be grateful for that.
Speaker 3 (07:02):
I'll forget I said it.
Speaker 4 (07:04):
My name is Millie George.
Speaker 3 (07:05):
How do you do This?
Speaker 4 (07:07):
Is or was my father's farm.
Speaker 5 (07:10):
He was very happy here until the dead men started walking,
and then he became one of them himself.
Speaker 2 (07:17):
Your father's dead over a year.
Speaker 3 (07:18):
Now you live here alone.
Speaker 4 (07:20):
I don't really live here at all.
Speaker 5 (07:22):
I have an apartment and a job in town, but.
Speaker 4 (07:26):
I come here often, as often as I dare.
Speaker 2 (07:35):
My pinion was idly traced patter and an inch steep
dust on the table next to my.
Speaker 3 (07:39):
Chair, institute dust. Milly George was very lovely.
Speaker 2 (07:45):
She told her ghost story neatly, but she was also
a complete liar.
Speaker 3 (07:51):
I think maybe we'd better.
Speaker 2 (07:52):
Skip the walking dead for a minute. There's something more
urgent that's got to be done. Where's your phone?
Speaker 4 (07:57):
I'm afraid there isn't one.
Speaker 5 (07:59):
Father never cared for what he called mechanical murderers.
Speaker 3 (08:02):
Murderers.
Speaker 4 (08:03):
He meant things that killed time, interrupted work. I see,
destroyed quiet.
Speaker 3 (08:07):
I see that's too bad.
Speaker 4 (08:10):
Why do you need a phone?
Speaker 2 (08:11):
Jake and I ran across the haywagon some distance down
the road.
Speaker 3 (08:15):
Oh, there was a man in it.
Speaker 2 (08:17):
He wasn't walking around like the people you've been telling
us about. He was lying down. But he was dead anyway.
If I'd been looking for a reaction for my words,
I would have been disappointed. Billie George took the news
(08:39):
with not a flicker of anything except polite interest. But
I wasn't disappointed, and I'd expected that reaction. The police
like to be told about straight corpses.
Speaker 5 (08:48):
I suppose, so I I think the gardeners have a phone.
Speaker 3 (08:52):
Where would I find them?
Speaker 4 (08:53):
Well, their house is about a quarter of a mile
further down the road.
Speaker 3 (08:56):
Oh good, Jacob did he?
Speaker 4 (08:59):
Oh? By the way, this man what did he die?
Speaker 3 (09:03):
Of? A knife in his heart?
Speaker 4 (09:06):
Oh? Suicide?
Speaker 2 (09:09):
The angle of the knife's entrance wouldn't be right for suicide.
Oh then it was murder, how dreadful? Yes, terribly dreadful.
So so far as Millie George was concerned, murder belonged
(09:30):
and pretty much the same category as a run.
Speaker 3 (09:33):
In a pair of new nylons.
Speaker 2 (09:34):
You said, how dreadful, and brought another pair. You couldn't
do exactly the same thing with a damaged life, though,
Mr Craig. Yeah, Millie George said. The guard in his house,
the one with the phone, was down the road that way.
That's where she said, Jake, Then why are we going
(09:55):
this way? I wanna take another look at that haywagon.
Well this wasn't her now I think maybe there's been
a change less hay less corpse. It's a nice road
to be taking a scroll arms and the cool eveing.
It would have been an even nicer rob if there
(10:16):
hadn't been a hay wagon in the middle of it.
Still there. Yeah, the horse must be getting a loan.
Lame being a firmer. You get a wrong angle on horse.
You don't think being a horse his charm is romantic.
Speaker 3 (10:33):
I'll never say a lord it a horse again.
Speaker 2 (10:35):
Excuse me, m m. You get in pretty spry climbing
hay wagon, Mr Craig, Just practice, that's all, Mr Craig,
mm count him the hay up there? No, just confirming,
I guess less corpse, no corpse. I'd thought back at
(11:02):
Millie George's house that the shots might have been a
warning or maybe a call for help. I know now
they'd been neither, But they actually had been were distractions,
mister Craig. Maybe maybe he wasn't really dead, Jake, they
don't get any debtor. I think likely you'd be fooled.
(11:25):
Somebody moved him out of there.
Speaker 3 (11:27):
Yeah, well what for?
Speaker 2 (11:28):
Can't be many folks enjoyed dragging corpses round.
Speaker 3 (11:32):
Whoever dragged this one maybe didn't enjoy it at all.
Speaker 2 (11:35):
Well, what was he trying to do? Save undertaker's expenses?
Speaker 3 (11:39):
Maybe he was trying to save his neck. He got
down out of the hay wagon and said goodbye to it.
Speaker 2 (11:46):
We wouldn't be coming back that way, Mr Craig.
Speaker 3 (11:53):
What's it, Jake?
Speaker 2 (11:55):
Anything about city people They like to walk, or they
do it deliberate even when they don't have to. Well,
country people hate to walk.
Speaker 3 (12:08):
But Jake, Uh, we've got to get back.
Speaker 2 (12:10):
To that farmhouse with a girl in it. Yeah, Millie George.
We're hoping that this time maybe she won't shoot over
our heads.
Speaker 3 (12:16):
We're hoping that this time she won't shoot at us
at all.
Speaker 2 (12:19):
And for this we're wearing our feet down clear.
Speaker 3 (12:21):
At the ankle. Oh, it's not as bad as that.
Speaker 2 (12:23):
It's worse. I got short ankles. Oh, mister Craig, I
can tell you right now. She don't have a phone,
I know, but by this time she may have something else.
Do I want to know what it might be?
Speaker 3 (12:37):
Not in your condition? You don't.
Speaker 2 (12:39):
Thanks. We didn't have much father to go, which was
just as well. Jake had started groaning every step next
to Jake snores Jake's Brown's or the Surer's recipe for
punctured air drums. Oh oh, oh, I can stop growing, Jake.
Speaker 3 (13:03):
We're at the house.
Speaker 2 (13:04):
Oh do you find that strengthen if we lift my head? Uh?
At the house?
Speaker 3 (13:11):
Think you can make it inside? Do you? Uh?
Speaker 2 (13:14):
I can try?
Speaker 3 (13:15):
Fine? Oh, Jake?
Speaker 2 (13:24):
I Uh. It doesn't look as if anyone's going to
invite us in. Ya. Just don't make me feel bad.
Speaker 3 (13:31):
We'll go in without an invitation.
Speaker 2 (13:33):
Now I don't know how I feel.
Speaker 3 (13:34):
Find out letter oh, somebody left the lights on.
Speaker 2 (13:41):
Wasn't of verman? Man? M quiet, Yeah, let's try to
parlor anything for an excuse to keep a walking.
Speaker 3 (13:51):
I suppose this is the parlor.
Speaker 2 (13:53):
Nobody in here. It's the parlor. Mm I don't like
this much. The only thing left for us do now
is sit out. Excuse me while I cheer? What are
you waiting for?
Speaker 3 (14:07):
Go ahead?
Speaker 2 (14:07):
Grandpa? Cheer? Company. So I notice kind of thing you're
liable to run into in old houses, they come out
of the woodwork, I think. Don't try to insult me, mister.
Speaker 3 (14:19):
Why not?
Speaker 2 (14:20):
Anything you're liable to say is liable will be true.
Don't be foolish. I don't use that kind of language.
You also ain't using the kind of language I would
like to hear.
Speaker 3 (14:29):
What language would that be?
Speaker 2 (14:31):
The one telling me whether the baby is buried a
boy or a girl? Baby? Jacob, Oh, that grandpa is
a joker. Grandpa could easy get his head knocked off.
Put the gun down some and then Grandpa will be
glad they tangle with you. I ain't putting no guns down.
And when I say baby, you know what I mean?
Speaker 3 (14:52):
You mean something worth money?
Speaker 2 (14:54):
That you are a bright one Okay, So where is it?
Even if I know where it was, I would I
tell you? Why not?
Speaker 3 (15:02):
And you've got the wrong r age? Fact wrong?
Speaker 2 (15:06):
Well, suppose I can get ahold of the right one.
Speaker 3 (15:09):
It wouldn't buy you the time of the day for me.
Speaker 2 (15:12):
Language like that's gotten guys killed.
Speaker 3 (15:14):
Before this, mister, so guns like that?
Speaker 2 (15:17):
Well it's just kind of fancy, but it ain't very productive.
What makes you think I know anything about the baby?
You're in the stumpingture?
Speaker 3 (15:26):
I'm in it.
Speaker 2 (15:27):
So what are you doing here? Looking for a beer?
Speaker 3 (15:30):
It so happens I'm looking for a corpse.
Speaker 2 (15:32):
Well you're gonna find one your own, only ain't gonna
be no conditional appreciated funny thing. You didn't show any
interest in the corpse I'm looking for.
Speaker 3 (15:42):
Who's it might be?
Speaker 2 (15:43):
Say, mister, corpse is dead. They don't bother me. It's
the live operators you've got to keep in mind, like
you and grandpa.
Speaker 3 (15:51):
How about the girl?
Speaker 2 (15:53):
You just sleep her out at this she's for me?
Speaker 3 (15:55):
Oh, and why do you think I was called in? Wait? Mister?
Speaker 2 (16:01):
You trying to tell me you was called in by.
Speaker 3 (16:04):
By the girl?
Speaker 2 (16:04):
Yes, don't smell so good.
Speaker 3 (16:07):
Neither do you.
Speaker 2 (16:09):
Let's call it a draw and go home. You were saying,
the girl brought you in. Okay, we find out fast, Hey, sugar,
let me sugar. This joker informs me you brought him
in on a deal.
Speaker 3 (16:30):
That's so. Now.
Speaker 2 (16:37):
I had a long look at the girl who'd come
into the room. It was fun while it lasted. She
was worth looking at. She was beautiful, non royal, undoubtedly expensive,
and she was not Mellie George.
Speaker 3 (16:49):
Well call it mistaken identity.
Speaker 2 (16:52):
Ah oh, cut it out, Dina. I don't know what
you think he's said, but it wasn't very funny.
Speaker 3 (16:58):
It wasn't.
Speaker 2 (16:59):
It wasn't. Uh, this girl probably is on your side.
She's not the one I was talking about. You mean
there's been another baby around?
Speaker 4 (17:08):
Oh honey, he must mean Joey's why.
Speaker 2 (17:10):
Oh, why don't you forget you ever learned to talk? Dina.
Speaker 4 (17:13):
That ain't a friendly attitude.
Speaker 2 (17:15):
I ain't feeling friendly. Joey makes it out of the pen,
ducks for cover. Here on a count of here is
where he buried the baby. Banks wouldn't like you calling
their money baby. Well I don't like banks, so it
was bank money. Thanks for telling me? Who told you,
I never mind to resume. Joey gets here and the
(17:36):
first thing anybody knows, he winds up with a knife
and a ticket. This is bad. He's good shot up.
Speaker 3 (17:44):
You can't say that to have themart man?
Speaker 2 (17:47):
Why not? I don't rightly remember? We'll get in touch
with me when you do. What now? Will you lay off?
You guys trying to confuse me of something? Uh, Joey
winds up with knife and the ticker and no dough.
Speaker 5 (18:02):
Look, ain't you forgetting Joey's wife?
Speaker 2 (18:05):
Yeah, if she was around here, maybe she met him
even before we got here, grabbed a door off on
him and then handed him a knife.
Speaker 3 (18:13):
Huh fine wire Ah.
Speaker 2 (18:15):
She never liked him so much after she found out
he was a bank operator.
Speaker 3 (18:19):
She was prejudiced against banks.
Speaker 2 (18:21):
She was prejudiced in favor of banks.
Speaker 3 (18:23):
A narrow minded woman.
Speaker 2 (18:25):
So I'm thinking maybe she's the one. We gotta get
our hands on it. And when did you see it
a little while ago where heah was shaking the house?
We went all through it. If she knife Joey and
scrambled a dough, we better get after her. Brady's it,
scream Mainy, Yeah, don't disturb my metal processes. Huh uh.
(18:46):
There wasn't no car around before, which means she must
have headed for the village and railroad station. Okay, now
we know where we're going.
Speaker 3 (18:55):
Oh, I think we do.
Speaker 2 (18:57):
That reminds me, what about you guys. We'll hire our
play some pinocle I've been wanting a good peinocle game.
What do you think?
Speaker 4 (19:05):
I think you're a big dope.
Speaker 2 (19:06):
But what kind of remark is that?
Speaker 4 (19:08):
Are you believed too easy?
Speaker 5 (19:09):
Joey's wife would maybe stick up Joey, but she wouldn't
take the bank's money.
Speaker 2 (19:14):
Yeah, it could be right, but maybe these characters you
I don't won't pay any attention to her, Brady, she's
a better woman to shut up?
Speaker 3 (19:20):
You know what I say?
Speaker 5 (19:22):
I say, get rid of him, and then we'll have
lots of time to find the money.
Speaker 2 (19:25):
You could be right. She could also be wrong, all right,
So she's wrong. What do I lose if she's wrong?
Mister Craig's life and mine In my line of business,
I can't afford to be sentimental. If you die for nothing,
I should be sorry, but not very sorry or not
for very long.
Speaker 5 (19:41):
Okay here, please, Brady, eh, not while the lady's in
the room.
Speaker 2 (19:46):
Oh excuse me, Dina. Sometimes I think you ain't got
no manners, I said, excuse me as nice to be
fine girl, Yeah, I never even packed a rod. Well ready,
Yeah you're an idiot.
Speaker 3 (20:08):
Well it could be you think Dina's.
Speaker 2 (20:10):
Really going to wait for you in that car out time?
For sure? Me and hers personally very friendly. That was
before the bank money came up. Why shouldn't she wait
for me and share your execution? Who's getting executed? Why
knock you guys off? We find a door, we get
out of here. Nobody knows who's even around.
Speaker 3 (20:29):
Dina gets out of here? You mean you don't. The
cops will pick you up in a few hours.
Speaker 2 (20:34):
You keep saying she won't wait for That's what I
keep saying, because it's the truth. Would you like to
test her before sticking your neck away out? What kind
of test?
Speaker 3 (20:44):
Fire two shots into the floor.
Speaker 2 (20:46):
Before I got nothing against the floor. Forgive me that
brain's are not to be an idiot. Fire these shots
and it'll sound of dinner as though you shot Jake
and me. Then if she waits for you, fine, you
can go ahead with your original plan. But if she
doesn't wait if she SCRAMs as soon as she hears
all shot ey' she an idea? You know it'chi even
(21:07):
a good idea? Okay, boys, just don't get alarmed. Hey,
you shouldn't have been soultied Dina. She's okay, So just
for insulting her, I'd tell you anyway. Shut at him listening, brity, Hey,
(21:29):
Dina idea a man betrayed?
Speaker 3 (21:37):
Greig?
Speaker 2 (21:39):
Greig, he was right. I feel terrible. You should, but
I don't understand Dina cross from me like that.
Speaker 3 (21:47):
But she get out of it. How much money was
in the bank job?
Speaker 2 (21:51):
Hey, ro I'm thirty grand.
Speaker 3 (21:54):
She gets thirty grand out of it?
Speaker 2 (21:55):
Huh?
Speaker 3 (21:56):
But you you want she together? All evening?
Speaker 2 (21:58):
Whoa, no?
Speaker 3 (22:00):
But you came down to this house.
Speaker 2 (22:02):
Why we figured this? Just where Joey's going ahead once
we hear he's departed from the pen. But Joey don't show.
Then you tell me Joey is now a corpse?
Speaker 3 (22:11):
Are he playing? What happened? One way or another?
Speaker 2 (22:14):
Joey latched onto a pair of overalls and a work
shird plus.
Speaker 3 (22:17):
One wagon filled with hay.
Speaker 2 (22:19):
He dug up the money from wherever he hitn't it
and headed for this house. But before he got it,
he runs into trouble.
Speaker 3 (22:26):
He ran into Dina.
Speaker 2 (22:28):
Ah. It begins to clear up, and Dina takes him
for the door.
Speaker 3 (22:31):
Eh, she takes him.
Speaker 2 (22:33):
Uh. I could have figured it out for myself. Yeah,
all you needed was mister Craig's brains. Better issue to
have him? What would I do with him? You got
a point, then, so's your head please, Grandpa. Dina does
not wish to share this head dough with me, so
(22:53):
she tries to get me to knock you guys off,
then get picked up at a copse while she's traveling
very fast in my car. Hey, this is Revolton it
is you know you do very good guessing? No guessing, No,
how do you know Joey was an escape con? I
mentioned the fact that he was pale and his hair
had been cut short.
Speaker 3 (23:12):
That was enough.
Speaker 2 (23:14):
Farmers don't work indoors in the summer. They couldn't be pale.
And why did Joey dress up like a farmer because
he wasn't one. Escape convicts are pale, have short hair,
and seek a disguise. Hey, you know something, Craig, You're
so smart. I'm beginning to worry. What about what kind
of securities as criminals is going to have with private
(23:35):
eyes like you go around being smart all the time,
the same kind of security you've always had.
Speaker 3 (23:39):
No security.
Speaker 2 (23:40):
Well, I just don't dwell on that day. I got
something else to worry about. I get to figure out
a way to get hold of Dina before she SCRAMs
out of the country with a dough But Brady, eh,
Dina doesn't have the money. Brady had a little trouble this.
(24:04):
Even Jake began to look worried. As far as I
was concerned, I hoped, because I could turn out to
be wrong, and being wrong in the case of this kind,
was only one short step before being dead. But you
figured it all out yourself logically, that Dina was the
one who knocked off Joey and.
Speaker 3 (24:20):
Took the door.
Speaker 2 (24:21):
What you're forgetting, Brady, is that there can be more
than one logical explanation for anything. He huh, He mean,
just because something logical, don't prove it's true, And then,
of course logic can be twisted as twisted as your mind.
Speaker 3 (24:37):
Brady.
Speaker 2 (24:37):
You leave my mind out of this. It's got its
own troubles. Please explain, Well, Joey was a desperate man
running from the police. He was also a man owning
thirty thousand dollars. He was finally a man in a hurry.
So how would Dina have persuaded a man in those
circumstances to let her get close enough to him to
stab him. Well, maybe there's no way nobody got close
(25:00):
enough to doing corse, somebody who was armed with a
weapon that was dangerous at the distance, a gun. Say
oh so, Dina, No, No, you yourself told us Dina
never carried a gun. Joey's wife wouldn't have needed to
take the chance of killing him on the road.
Speaker 3 (25:16):
She could have waited till she had him here.
Speaker 2 (25:19):
You know something, I said, you were so bright. I
was beginning to get worried. I ain't beginning no more.
I'm worried. So you admit you were the one who
stabbed Joey and took the money issue. Dina scrammed just
now because she was afraid you didn't intend to share
the money with her, but instead would kill her the
(25:39):
same way you'd kill Joey. Could be she'd realized you'd
hitten Joey's body. The game time for doing just that,
I won't do much good. I know where she goes
when she's scared. But before that, you can't shoot as
Why well, I don't know, Frankly, give me a little
time and I don't think of something too bad. Grandpa,
(26:00):
I ain't giving you no time at all. Oh, a
fellow who's just been shot? I feel fine. You weren't shot, Jake,
Come on in, miss Millie. I spotted it behind those
drapes a long time ago. I was looking for her.
The trouble with you, Jake, is that you spent so
(26:21):
much time thinking about the farmer you forgot about the
farmer's daughter. It didn't quite end bad, though, The police
removed the debris, put out a pickup for Dina, and then.
Speaker 4 (26:37):
Barry. Yeah, I really am a farmer's daughter.
Speaker 3 (26:41):
I know, so Yeah.
Speaker 4 (26:46):
How about some country cooked hail?
Speaker 2 (26:47):
Hm.
Speaker 1 (27:12):
You have been listening to William Gargan and another exciting
transcribed mystery drama from the Adventures of Barry Craig, Confidential investigator.
Tonight's story, Hey As for Homicide was written by Lewis Vitties.
Speaker 3 (27:40):
Next Week.
Speaker 1 (27:40):
It's the strange story of ghosts Don't Die in bed,
about which Barry Craig has this to say.
Speaker 2 (27:48):
We call next week's story, ghosts don't die in bed,
which is a true saying.
Speaker 3 (27:53):
It's also true, of course.
Speaker 2 (27:54):
That they don't die anywhere else because they're already dead
all except for one eye run into when When good night, folks,
see you next week.
Speaker 1 (28:08):
The National Broadcasting Company has just brought You Transcribed, an
NBC Radio Network production with William Gargan starring as Barry Craig,
Confidential Investigator, directed by Arthur Jacobson. Also heard Parley Bear,
Joyce McCluskey, Jack Moyles, and Baby Janis John Lang speaking
(28:38):
the Aviation Age of America is now in progress and
calls to young Americans to keep in step by becoming
members of the United States Air Force. If you were
a high school or college graduate between the ages of
nineteen and twenty six and a half, single and in
good physical condition, then you may be eligible to win
your wings as an Air Force lieutenant. While in training,
(28:59):
you'll learn to fly as pilots with the latest equipment
and the best instructors.
Speaker 3 (29:04):
Investigate.
Speaker 1 (29:05):
Now visit your Air Force recruiting station for additional information.
There's another exciting dragnet adventure to night on most NBC
radio stations
William Gargan stars as Barry Craig, confidential Investigator.
Speaker 2 (00:11):
Someone once said that murder is a fine art. There's
a catch, though. If you're a successful artist, they hang
your paintings. If you're a successful murderer, they hang you.
Speaker 1 (00:29):
The National Broadcasting Company presents William Cargan in another transcribed
drama of mystery and adventure with America's number one detective,
Barry Craig Confidential Investigator Barry Craig speaking, Even confidential investigators
(00:52):
need a vacation.
Speaker 2 (00:53):
Sometimes they've been known to take. For the place I've
chosen was Vermont. The main reason for that was Jake.
He was on vacation too. He decided to come home
and see if he'd been smart and abandoning Vermont to
run an elevator on Madison Avenue. Say, Jake, h, what's
(01:15):
the verdicts Madison Avenue? Why is Madison Avenue dark and
quiet like this? Noop? Is Madison Avenue surrounded by tall trees,
cooled by gentle breezes, filled with the fragrance of unspoiled nature.
And nope, Now what's Madison Avenue? Got that this place
hasn't girls?
Speaker 3 (01:36):
Well, you may be.
Speaker 2 (01:37):
Right, or you may be wrong. That came from directly
up the road. Nice night for Hey ride, is it? Yep?
Could have been giggle rather loud giggle. Girl's got very
loud giggles sometimes. Secondly on a Hey ride.
Speaker 3 (01:55):
Oh, Jake stopped pulling my leg.
Speaker 2 (01:58):
Hey, wait a minute, what's that in the road up
ahead of us?
Speaker 3 (02:01):
Hey?
Speaker 2 (02:02):
Wagon? I refuse to believe it, but it is filled
with hay. Usually I am there's.
Speaker 3 (02:08):
A horse out in front of it. But where is
the driver? Said Jake?
Speaker 2 (02:13):
Would would he have gone off and left the wagon.
Speaker 3 (02:15):
Out in the middle of the road.
Speaker 2 (02:16):
Team too likely.
Speaker 3 (02:19):
I'm coming up on that wagon. That girl, if it
was a girl, didn't giggle.
Speaker 2 (02:26):
She screamed, I'd better take a look around in the hay.
What for anything larger than a needle? Yeah, there's plenty
of hay up here. Anything else?
Speaker 4 (02:38):
No, what.
Speaker 2 (02:40):
Mis grag? I was rushing things? There is something else
up here? What a man, very pale man? What's he
doing up there?
Speaker 3 (02:52):
Nothing? Just being dead? They very still.
Speaker 2 (03:01):
His eyes stared up at the summer sky over head,
but saw.
Speaker 3 (03:04):
Neither the stars nor the moon. The moon that.
Speaker 2 (03:07):
Shone on him and on the metal handle of the
knife that was buried in his heart.
Speaker 3 (03:16):
He was wearing overalls and the work shirt.
Speaker 2 (03:19):
His short hair outlined clearly the skull beneath. There was
nothing I know anyone could do for him. Murdered, yes,
anything on him.
Speaker 3 (03:34):
No identification at all. Jake, we need a phone.
Speaker 2 (03:38):
Past farm house half my back.
Speaker 3 (03:40):
Let's go.
Speaker 2 (03:41):
I think it's all right leaving him there.
Speaker 3 (03:43):
He won't mind.
Speaker 2 (03:50):
E Vermont Knight was as quiet and peaceful as it
had been before I heard the scream, and the man
died of a knife wom lying a mound of hay.
Nature doesn't concern herself to mine about us and our doings,
which is very bright of nature. Got to turn off
the road to get to that farmhouse. Yeah, oh, somebody
(04:14):
ought to oil that gate. Whole house is pretty run down.
Speaker 3 (04:20):
Take it out.
Speaker 2 (04:21):
Ain't necessary. Those shots over our heads. Her ay might
improve her. But you can see a farmhouse window this time.
It's not the farmer with the shotgun. It's the farmer's daughter.
Spoil a lot of stories that way. She's left the window. Yeah,
she knows she didn't hit either of us. Those shots
(04:42):
are either a warning or possibly a yell for help.
How are you going to decide. Well, if it was
a warning, I don't think she'd have left the window,
so it must be a call for help. Come on,
that was real logical, mister Craig.
Speaker 3 (04:57):
Thanks.
Speaker 2 (04:58):
Let's hope it turns out to be true. There were
no more shot it dead or it didn't prove I'd
been like, because the shooting would be better once we
were inside the house. The first time I ever heard
(05:25):
of target. It's knocking on the door. The lady may
have had all the target shooting. She wants, who're there,
Barry Craig and Jake.
Speaker 4 (05:37):
Hello, Barry Craig, Yeah, and Jake me. Either of you
look very terrifying?
Speaker 3 (05:46):
Is that bad?
Speaker 5 (05:47):
No, it's nice. Please come in, thanks, Please make yourselves comfortable.
Nice room, lastick, perhaps, but I like it.
Speaker 2 (06:00):
Do you like being a farmer or or maybe I should.
Speaker 4 (06:03):
Say farmer's daughter.
Speaker 2 (06:06):
Very much, Almost as much as you like firing guns
at strangers.
Speaker 4 (06:11):
But I didn't know whether you were strangers or.
Speaker 2 (06:13):
Or what.
Speaker 4 (06:16):
Or dead men.
Speaker 2 (06:22):
Maybe she was what she claimed to me, a farmer's daughter,
But if she was, somebody's been.
Speaker 3 (06:26):
Telling me lies about farms.
Speaker 2 (06:29):
Her hairdo with sleek, as though it had been just applied.
Her fingernails that had a lot of professional attention. Her
dress was so simple it practically yelled paras at you.
And she didn't need any of these beauty aids. She
would have been beautiful without them, but not nearly so expensive.
You did say dead men? Yes, you often run across
(06:50):
dead men walking around? Yes?
Speaker 3 (06:52):
Uh huh.
Speaker 4 (06:53):
You think I'm crazy, don't you.
Speaker 3 (06:55):
I don't think you're crazy at all.
Speaker 2 (06:57):
You've just got uh a peculiar vision.
Speaker 4 (07:00):
I'm not sure I ought to be grateful for that.
Speaker 3 (07:02):
I'll forget I said it.
Speaker 4 (07:04):
My name is Millie George.
Speaker 3 (07:05):
How do you do This?
Speaker 4 (07:07):
Is or was my father's farm.
Speaker 5 (07:10):
He was very happy here until the dead men started walking,
and then he became one of them himself.
Speaker 2 (07:17):
Your father's dead over a year.
Speaker 3 (07:18):
Now you live here alone.
Speaker 4 (07:20):
I don't really live here at all.
Speaker 5 (07:22):
I have an apartment and a job in town, but.
Speaker 4 (07:26):
I come here often, as often as I dare.
Speaker 2 (07:35):
My pinion was idly traced patter and an inch steep
dust on the table next to my.
Speaker 3 (07:39):
Chair, institute dust. Milly George was very lovely.
Speaker 2 (07:45):
She told her ghost story neatly, but she was also
a complete liar.
Speaker 3 (07:51):
I think maybe we'd better.
Speaker 2 (07:52):
Skip the walking dead for a minute. There's something more
urgent that's got to be done. Where's your phone?
Speaker 4 (07:57):
I'm afraid there isn't one.
Speaker 5 (07:59):
Father never cared for what he called mechanical murderers.
Speaker 3 (08:02):
Murderers.
Speaker 4 (08:03):
He meant things that killed time, interrupted work. I see,
destroyed quiet.
Speaker 3 (08:07):
I see that's too bad.
Speaker 4 (08:10):
Why do you need a phone?
Speaker 2 (08:11):
Jake and I ran across the haywagon some distance down
the road.
Speaker 3 (08:15):
Oh, there was a man in it.
Speaker 2 (08:17):
He wasn't walking around like the people you've been telling
us about. He was lying down. But he was dead anyway.
If I'd been looking for a reaction for my words,
I would have been disappointed. Billie George took the news
(08:39):
with not a flicker of anything except polite interest. But
I wasn't disappointed, and I'd expected that reaction. The police
like to be told about straight corpses.
Speaker 5 (08:48):
I suppose, so I I think the gardeners have a phone.
Speaker 3 (08:52):
Where would I find them?
Speaker 4 (08:53):
Well, their house is about a quarter of a mile
further down the road.
Speaker 3 (08:56):
Oh good, Jacob did he?
Speaker 4 (08:59):
Oh? By the way, this man what did he die?
Speaker 3 (09:03):
Of? A knife in his heart?
Speaker 4 (09:06):
Oh? Suicide?
Speaker 2 (09:09):
The angle of the knife's entrance wouldn't be right for suicide.
Oh then it was murder, how dreadful? Yes, terribly dreadful.
So so far as Millie George was concerned, murder belonged
(09:30):
and pretty much the same category as a run.
Speaker 3 (09:33):
In a pair of new nylons.
Speaker 2 (09:34):
You said, how dreadful, and brought another pair. You couldn't
do exactly the same thing with a damaged life, though,
Mr Craig. Yeah, Millie George said. The guard in his house,
the one with the phone, was down the road that way.
That's where she said, Jake, Then why are we going
(09:55):
this way? I wanna take another look at that haywagon.
Well this wasn't her now I think maybe there's been
a change less hay less corpse. It's a nice road
to be taking a scroll arms and the cool eveing.
It would have been an even nicer rob if there
(10:16):
hadn't been a hay wagon in the middle of it.
Still there. Yeah, the horse must be getting a loan.
Lame being a firmer. You get a wrong angle on horse.
You don't think being a horse his charm is romantic.
Speaker 3 (10:33):
I'll never say a lord it a horse again.
Speaker 2 (10:35):
Excuse me, m m. You get in pretty spry climbing
hay wagon, Mr Craig, Just practice, that's all, Mr Craig,
mm count him the hay up there? No, just confirming,
I guess less corpse, no corpse. I'd thought back at
(11:02):
Millie George's house that the shots might have been a
warning or maybe a call for help. I know now
they'd been neither, But they actually had been were distractions,
mister Craig. Maybe maybe he wasn't really dead, Jake, they
don't get any debtor. I think likely you'd be fooled.
(11:25):
Somebody moved him out of there.
Speaker 3 (11:27):
Yeah, well what for?
Speaker 2 (11:28):
Can't be many folks enjoyed dragging corpses round.
Speaker 3 (11:32):
Whoever dragged this one maybe didn't enjoy it at all.
Speaker 2 (11:35):
Well, what was he trying to do? Save undertaker's expenses?
Speaker 3 (11:39):
Maybe he was trying to save his neck. He got
down out of the hay wagon and said goodbye to it.
Speaker 2 (11:46):
We wouldn't be coming back that way, Mr Craig.
Speaker 3 (11:53):
What's it, Jake?
Speaker 2 (11:55):
Anything about city people They like to walk, or they
do it deliberate even when they don't have to. Well,
country people hate to walk.
Speaker 3 (12:08):
But Jake, Uh, we've got to get back.
Speaker 2 (12:10):
To that farmhouse with a girl in it. Yeah, Millie George.
We're hoping that this time maybe she won't shoot over
our heads.
Speaker 3 (12:16):
We're hoping that this time she won't shoot at us
at all.
Speaker 2 (12:19):
And for this we're wearing our feet down clear.
Speaker 3 (12:21):
At the ankle. Oh, it's not as bad as that.
Speaker 2 (12:23):
It's worse. I got short ankles. Oh, mister Craig, I
can tell you right now. She don't have a phone,
I know, but by this time she may have something else.
Do I want to know what it might be?
Speaker 3 (12:37):
Not in your condition? You don't.
Speaker 2 (12:39):
Thanks. We didn't have much father to go, which was
just as well. Jake had started groaning every step next
to Jake snores Jake's Brown's or the Surer's recipe for
punctured air drums. Oh oh, oh, I can stop growing, Jake.
Speaker 3 (13:03):
We're at the house.
Speaker 2 (13:04):
Oh do you find that strengthen if we lift my head? Uh?
At the house?
Speaker 3 (13:11):
Think you can make it inside? Do you? Uh?
Speaker 2 (13:14):
I can try?
Speaker 3 (13:15):
Fine? Oh, Jake?
Speaker 2 (13:24):
I Uh. It doesn't look as if anyone's going to
invite us in. Ya. Just don't make me feel bad.
Speaker 3 (13:31):
We'll go in without an invitation.
Speaker 2 (13:33):
Now I don't know how I feel.
Speaker 3 (13:34):
Find out letter oh, somebody left the lights on.
Speaker 2 (13:41):
Wasn't of verman? Man? M quiet, Yeah, let's try to
parlor anything for an excuse to keep a walking.
Speaker 3 (13:51):
I suppose this is the parlor.
Speaker 2 (13:53):
Nobody in here. It's the parlor. Mm I don't like
this much. The only thing left for us do now
is sit out. Excuse me while I cheer? What are
you waiting for?
Speaker 3 (14:07):
Go ahead?
Speaker 2 (14:07):
Grandpa? Cheer? Company. So I notice kind of thing you're
liable to run into in old houses, they come out
of the woodwork, I think. Don't try to insult me, mister.
Speaker 3 (14:19):
Why not?
Speaker 2 (14:20):
Anything you're liable to say is liable will be true.
Don't be foolish. I don't use that kind of language.
You also ain't using the kind of language I would
like to hear.
Speaker 3 (14:29):
What language would that be?
Speaker 2 (14:31):
The one telling me whether the baby is buried a
boy or a girl? Baby? Jacob, Oh, that grandpa is
a joker. Grandpa could easy get his head knocked off.
Put the gun down some and then Grandpa will be
glad they tangle with you. I ain't putting no guns down.
And when I say baby, you know what I mean?
Speaker 3 (14:52):
You mean something worth money?
Speaker 2 (14:54):
That you are a bright one Okay, So where is it?
Even if I know where it was, I would I
tell you? Why not?
Speaker 3 (15:02):
And you've got the wrong r age? Fact wrong?
Speaker 2 (15:06):
Well, suppose I can get ahold of the right one.
Speaker 3 (15:09):
It wouldn't buy you the time of the day for me.
Speaker 2 (15:12):
Language like that's gotten guys killed.
Speaker 3 (15:14):
Before this, mister, so guns like that?
Speaker 2 (15:17):
Well it's just kind of fancy, but it ain't very productive.
What makes you think I know anything about the baby?
You're in the stumpingture?
Speaker 3 (15:26):
I'm in it.
Speaker 2 (15:27):
So what are you doing here? Looking for a beer?
Speaker 3 (15:30):
It so happens I'm looking for a corpse.
Speaker 2 (15:32):
Well you're gonna find one your own, only ain't gonna
be no conditional appreciated funny thing. You didn't show any
interest in the corpse I'm looking for.
Speaker 3 (15:42):
Who's it might be?
Speaker 2 (15:43):
Say, mister, corpse is dead. They don't bother me. It's
the live operators you've got to keep in mind, like
you and grandpa.
Speaker 3 (15:51):
How about the girl?
Speaker 2 (15:53):
You just sleep her out at this she's for me?
Speaker 3 (15:55):
Oh, and why do you think I was called in? Wait? Mister?
Speaker 2 (16:01):
You trying to tell me you was called in by.
Speaker 3 (16:04):
By the girl?
Speaker 2 (16:04):
Yes, don't smell so good.
Speaker 3 (16:07):
Neither do you.
Speaker 2 (16:09):
Let's call it a draw and go home. You were saying,
the girl brought you in. Okay, we find out fast, Hey, sugar,
let me sugar. This joker informs me you brought him
in on a deal.
Speaker 3 (16:30):
That's so. Now.
Speaker 2 (16:37):
I had a long look at the girl who'd come
into the room. It was fun while it lasted. She
was worth looking at. She was beautiful, non royal, undoubtedly expensive,
and she was not Mellie George.
Speaker 3 (16:49):
Well call it mistaken identity.
Speaker 2 (16:52):
Ah oh, cut it out, Dina. I don't know what
you think he's said, but it wasn't very funny.
Speaker 3 (16:58):
It wasn't.
Speaker 2 (16:59):
It wasn't. Uh, this girl probably is on your side.
She's not the one I was talking about. You mean
there's been another baby around?
Speaker 4 (17:08):
Oh honey, he must mean Joey's why.
Speaker 2 (17:10):
Oh, why don't you forget you ever learned to talk? Dina.
Speaker 4 (17:13):
That ain't a friendly attitude.
Speaker 2 (17:15):
I ain't feeling friendly. Joey makes it out of the pen,
ducks for cover. Here on a count of here is
where he buried the baby. Banks wouldn't like you calling
their money baby. Well I don't like banks, so it
was bank money. Thanks for telling me? Who told you,
I never mind to resume. Joey gets here and the
(17:36):
first thing anybody knows, he winds up with a knife
and a ticket. This is bad. He's good shot up.
Speaker 3 (17:44):
You can't say that to have themart man?
Speaker 2 (17:47):
Why not? I don't rightly remember? We'll get in touch
with me when you do. What now? Will you lay off?
You guys trying to confuse me of something? Uh, Joey
winds up with knife and the ticker and no dough.
Speaker 5 (18:02):
Look, ain't you forgetting Joey's wife?
Speaker 2 (18:05):
Yeah, if she was around here, maybe she met him
even before we got here, grabbed a door off on
him and then handed him a knife.
Speaker 3 (18:13):
Huh fine wire Ah.
Speaker 2 (18:15):
She never liked him so much after she found out
he was a bank operator.
Speaker 3 (18:19):
She was prejudiced against banks.
Speaker 2 (18:21):
She was prejudiced in favor of banks.
Speaker 3 (18:23):
A narrow minded woman.
Speaker 2 (18:25):
So I'm thinking maybe she's the one. We gotta get
our hands on it. And when did you see it
a little while ago where heah was shaking the house?
We went all through it. If she knife Joey and
scrambled a dough, we better get after her. Brady's it,
scream Mainy, Yeah, don't disturb my metal processes. Huh uh.
(18:46):
There wasn't no car around before, which means she must
have headed for the village and railroad station. Okay, now
we know where we're going.
Speaker 3 (18:55):
Oh, I think we do.
Speaker 2 (18:57):
That reminds me, what about you guys. We'll hire our
play some pinocle I've been wanting a good peinocle game.
What do you think?
Speaker 4 (19:05):
I think you're a big dope.
Speaker 2 (19:06):
But what kind of remark is that?
Speaker 4 (19:08):
Are you believed too easy?
Speaker 5 (19:09):
Joey's wife would maybe stick up Joey, but she wouldn't
take the bank's money.
Speaker 2 (19:14):
Yeah, it could be right, but maybe these characters you
I don't won't pay any attention to her, Brady, she's
a better woman to shut up?
Speaker 3 (19:20):
You know what I say?
Speaker 5 (19:22):
I say, get rid of him, and then we'll have
lots of time to find the money.
Speaker 2 (19:25):
You could be right. She could also be wrong, all right,
So she's wrong. What do I lose if she's wrong?
Mister Craig's life and mine In my line of business,
I can't afford to be sentimental. If you die for nothing,
I should be sorry, but not very sorry or not
for very long.
Speaker 5 (19:41):
Okay here, please, Brady, eh, not while the lady's in
the room.
Speaker 2 (19:46):
Oh excuse me, Dina. Sometimes I think you ain't got
no manners, I said, excuse me as nice to be
fine girl, Yeah, I never even packed a rod. Well ready,
Yeah you're an idiot.
Speaker 3 (20:08):
Well it could be you think Dina's.
Speaker 2 (20:10):
Really going to wait for you in that car out time?
For sure? Me and hers personally very friendly. That was
before the bank money came up. Why shouldn't she wait
for me and share your execution? Who's getting executed? Why
knock you guys off? We find a door, we get
out of here. Nobody knows who's even around.
Speaker 3 (20:29):
Dina gets out of here? You mean you don't. The
cops will pick you up in a few hours.
Speaker 2 (20:34):
You keep saying she won't wait for That's what I
keep saying, because it's the truth. Would you like to
test her before sticking your neck away out? What kind
of test?
Speaker 3 (20:44):
Fire two shots into the floor.
Speaker 2 (20:46):
Before I got nothing against the floor. Forgive me that
brain's are not to be an idiot. Fire these shots
and it'll sound of dinner as though you shot Jake
and me. Then if she waits for you, fine, you
can go ahead with your original plan. But if she
doesn't wait if she SCRAMs as soon as she hears
all shot ey' she an idea? You know it'chi even
(21:07):
a good idea? Okay, boys, just don't get alarmed. Hey,
you shouldn't have been soultied Dina. She's okay, So just
for insulting her, I'd tell you anyway. Shut at him listening, brity, Hey,
(21:29):
Dina idea a man betrayed?
Speaker 3 (21:37):
Greig?
Speaker 2 (21:39):
Greig, he was right. I feel terrible. You should, but
I don't understand Dina cross from me like that.
Speaker 3 (21:47):
But she get out of it. How much money was
in the bank job?
Speaker 2 (21:51):
Hey, ro I'm thirty grand.
Speaker 3 (21:54):
She gets thirty grand out of it?
Speaker 2 (21:55):
Huh?
Speaker 3 (21:56):
But you you want she together? All evening?
Speaker 2 (21:58):
Whoa, no?
Speaker 3 (22:00):
But you came down to this house.
Speaker 2 (22:02):
Why we figured this? Just where Joey's going ahead once
we hear he's departed from the pen. But Joey don't show.
Then you tell me Joey is now a corpse?
Speaker 3 (22:11):
Are he playing? What happened? One way or another?
Speaker 2 (22:14):
Joey latched onto a pair of overalls and a work
shird plus.
Speaker 3 (22:17):
One wagon filled with hay.
Speaker 2 (22:19):
He dug up the money from wherever he hitn't it
and headed for this house. But before he got it,
he runs into trouble.
Speaker 3 (22:26):
He ran into Dina.
Speaker 2 (22:28):
Ah. It begins to clear up, and Dina takes him
for the door.
Speaker 3 (22:31):
Eh, she takes him.
Speaker 2 (22:33):
Uh. I could have figured it out for myself. Yeah,
all you needed was mister Craig's brains. Better issue to
have him? What would I do with him? You got
a point, then, so's your head please, Grandpa. Dina does
not wish to share this head dough with me, so
(22:53):
she tries to get me to knock you guys off,
then get picked up at a copse while she's traveling
very fast in my car. Hey, this is Revolton it
is you know you do very good guessing? No guessing, No,
how do you know Joey was an escape con? I
mentioned the fact that he was pale and his hair
had been cut short.
Speaker 3 (23:12):
That was enough.
Speaker 2 (23:14):
Farmers don't work indoors in the summer. They couldn't be pale.
And why did Joey dress up like a farmer because
he wasn't one. Escape convicts are pale, have short hair,
and seek a disguise. Hey, you know something, Craig, You're
so smart. I'm beginning to worry. What about what kind
of securities as criminals is going to have with private
(23:35):
eyes like you go around being smart all the time,
the same kind of security you've always had.
Speaker 3 (23:39):
No security.
Speaker 2 (23:40):
Well, I just don't dwell on that day. I got
something else to worry about. I get to figure out
a way to get hold of Dina before she SCRAMs
out of the country with a dough But Brady, eh,
Dina doesn't have the money. Brady had a little trouble this.
(24:04):
Even Jake began to look worried. As far as I
was concerned, I hoped, because I could turn out to
be wrong, and being wrong in the case of this kind,
was only one short step before being dead. But you
figured it all out yourself logically, that Dina was the
one who knocked off Joey and.
Speaker 3 (24:20):
Took the door.
Speaker 2 (24:21):
What you're forgetting, Brady, is that there can be more
than one logical explanation for anything. He huh, He mean,
just because something logical, don't prove it's true, And then,
of course logic can be twisted as twisted as your mind.
Speaker 3 (24:37):
Brady.
Speaker 2 (24:37):
You leave my mind out of this. It's got its
own troubles. Please explain, Well, Joey was a desperate man
running from the police. He was also a man owning
thirty thousand dollars. He was finally a man in a hurry.
So how would Dina have persuaded a man in those
circumstances to let her get close enough to him to
stab him. Well, maybe there's no way nobody got close
(25:00):
enough to doing corse, somebody who was armed with a
weapon that was dangerous at the distance, a gun. Say
oh so, Dina, No, No, you yourself told us Dina
never carried a gun. Joey's wife wouldn't have needed to
take the chance of killing him on the road.
Speaker 3 (25:16):
She could have waited till she had him here.
Speaker 2 (25:19):
You know something, I said, you were so bright. I
was beginning to get worried. I ain't beginning no more.
I'm worried. So you admit you were the one who
stabbed Joey and took the money issue. Dina scrammed just
now because she was afraid you didn't intend to share
the money with her, but instead would kill her the
(25:39):
same way you'd kill Joey. Could be she'd realized you'd
hitten Joey's body. The game time for doing just that,
I won't do much good. I know where she goes
when she's scared. But before that, you can't shoot as
Why well, I don't know, Frankly, give me a little
time and I don't think of something too bad. Grandpa,
(26:00):
I ain't giving you no time at all. Oh, a
fellow who's just been shot? I feel fine. You weren't shot, Jake,
Come on in, miss Millie. I spotted it behind those
drapes a long time ago. I was looking for her.
The trouble with you, Jake, is that you spent so
(26:21):
much time thinking about the farmer you forgot about the
farmer's daughter. It didn't quite end bad, though, The police
removed the debris, put out a pickup for Dina, and then.
Speaker 4 (26:37):
Barry. Yeah, I really am a farmer's daughter.
Speaker 3 (26:41):
I know, so Yeah.
Speaker 4 (26:46):
How about some country cooked hail?
Speaker 2 (26:47):
Hm.
Speaker 1 (27:12):
You have been listening to William Gargan and another exciting
transcribed mystery drama from the Adventures of Barry Craig, Confidential investigator.
Tonight's story, Hey As for Homicide was written by Lewis Vitties.
Speaker 3 (27:40):
Next Week.
Speaker 1 (27:40):
It's the strange story of ghosts Don't Die in bed,
about which Barry Craig has this to say.
Speaker 2 (27:48):
We call next week's story, ghosts don't die in bed,
which is a true saying.
Speaker 3 (27:53):
It's also true, of course.
Speaker 2 (27:54):
That they don't die anywhere else because they're already dead
all except for one eye run into when When good night, folks,
see you next week.
Speaker 1 (28:08):
The National Broadcasting Company has just brought You Transcribed, an
NBC Radio Network production with William Gargan starring as Barry Craig,
Confidential Investigator, directed by Arthur Jacobson. Also heard Parley Bear,
Joyce McCluskey, Jack Moyles, and Baby Janis John Lang speaking
(28:38):
the Aviation Age of America is now in progress and
calls to young Americans to keep in step by becoming
members of the United States Air Force. If you were
a high school or college graduate between the ages of
nineteen and twenty six and a half, single and in
good physical condition, then you may be eligible to win
your wings as an Air Force lieutenant. While in training,
(28:59):
you'll learn to fly as pilots with the latest equipment
and the best instructors.
Speaker 3 (29:04):
Investigate.
Speaker 1 (29:05):
Now visit your Air Force recruiting station for additional information.
There's another exciting dragnet adventure to night on most NBC
radio stations
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