December 1, 2025 • 23 mins
Yours Truly, Johnny Dollar was a radio drama which aired between 1949 and 1962. "The man with the action-packed expense account, America’s fabulous freelance insurance investigator, Johnny Dollar". Of the eight different actors who played Johnny Dollar, Bob Bailey is likely considered the most popular. Bailey's interpretation presented a tough, streetwise character, but also sensitive and thoughtful. During it's time, Yours Truly, Johnny Dollar attracted some of the best writers in Hollywood, including Jack Johnstone, E. Jack Neuman, Robert Ryf, and Les Crutchfield.
Hope you enjoy this episode of Yours Truly, Johnny Dollar! Find all our OTR radio stations and podcasts at theaterofthemind-otr.com - Audio Credit: The Old Time Radio Researchers Group. - Podcasts @ Spreaker | Apple | YouTube | Spotify | iHeart | Amazon
Hope you enjoy this episode of Yours Truly, Johnny Dollar! Find all our OTR radio stations and podcasts at theaterofthemind-otr.com - Audio Credit: The Old Time Radio Researchers Group. - Podcasts @ Spreaker | Apple | YouTube | Spotify | iHeart | Amazon
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
From Hollywood. It's time now for Johnny Dollar.
Speaker 2 (00:08):
George Reed here Johnny.
Speaker 1 (00:09):
Well, George, I'm really glad to talk to you.
Speaker 2 (00:12):
Oh why do you say it that way?
Speaker 3 (00:13):
Because every insurance case I handle for that company of
yours pays me a nice fat fee, and right now
I can use a little extra case. Well, john so
tell me all. What's Floyd's of England? Upset about this time?
Speaker 2 (00:23):
Well, I'm not sure.
Speaker 1 (00:25):
Oh, here we go again.
Speaker 2 (00:26):
But Johnny, I just received a transatlantic telephone call from
Paris friends for a man who wanted to contact you
but didn't know where to call you. And he identified
himself only as l shaw Gree.
Speaker 1 (00:36):
Oh, the shaw Gree.
Speaker 2 (00:39):
It's French, Johnny, and I believe it means the gray cat.
Speaker 1 (00:42):
Yeah, and George, the name fits him.
Speaker 4 (00:45):
You know him? Then?
Speaker 1 (00:46):
His real name is DeMar Sack.
Speaker 3 (00:48):
He probably knows more about the dark alleys and backstreets
of Paris and about the people, in other words, the underworld.
Speaker 1 (00:54):
What did he call about?
Speaker 2 (00:55):
He mentioned the Blue Madonna. What it's a painting, Johnny,
is small oil painting by a modern artist named Vincent Bardo.
It's owned by a mister Kingsley Holland don in Philadelphia.
Speaker 4 (01:05):
Yeah, it hangs in the Gavin.
Speaker 2 (01:07):
Galleries and we've insured it for twelve thousand dollars.
Speaker 1 (01:10):
Well, what did he have to say about it?
Speaker 2 (01:11):
Only that you're to call him his number there in
Paris Is Orleans five seven seven two two, that he
has some very interesting information for you about that painting.
Speaker 1 (01:21):
Oh, sure that he'll be glad to give me for
a price.
Speaker 4 (01:23):
Exactly.
Speaker 2 (01:24):
I can't, for the life of me figure what his
interest isn't it If there were anything amiss, I'm sure
the gallery would.
Speaker 1 (01:29):
Have called me, George.
Speaker 3 (01:30):
If you knew that character as well as I do,
you'd okay my expense account without even looking at it
and be willing to pay me that big fee.
Speaker 1 (01:36):
I was talking about it.
Speaker 4 (01:37):
What do you mean?
Speaker 1 (01:38):
Want to make a bet? What kind of a bet
I'll give you.
Speaker 3 (01:41):
Ond's a ten to one that whatever's hanging in that
gallery down there in Philadelphia is not the Blue Madonna.
Speaker 2 (01:46):
What now, look, Johnny, good Heaven.
Speaker 1 (01:48):
George, I'll be talking to you.
Speaker 3 (01:58):
Bob Bailey in the Citing Adventures of the Man with
the Action Packed Expense Account, America's fabulous freelance insurance investigator.
Speaker 1 (02:06):
Ours truly Johnny Dollar no act one of yours, truly Johnny.
Speaker 3 (02:16):
Dollar expense account submitted by Special Investigator Johnny Dollar to
Floyd's of England, North American Office, Hartford, Connecticut, following his
(02:38):
an account of expenses incurred during my investigation of the
Blue Madonna matter. Expense account HadAM won twelve dollars even
for a phone call to my underworld contact in Paris, France,
a man by the name of Dumar Sack who calls
himself the gray Cat.
Speaker 5 (02:54):
Hah lo mischi darlare DC you all your very dear friend, the.
Speaker 1 (03:00):
Chau very dear friend.
Speaker 3 (03:02):
Huh now listen, you telephoned George read that you have
some real hot information about a painting his company.
Speaker 6 (03:07):
In short, uh we lit Madonna blue? What did you
call the Blue Mandona?
Speaker 1 (03:12):
Okay? How much you want this time?
Speaker 6 (03:14):
Oh monsieur, you touched me to the quick one. One
might think that our slave on the shuffer and reached
my life on your behalf?
Speaker 5 (03:21):
Only for money?
Speaker 1 (03:22):
How much to my sec see?
Speaker 4 (03:24):
Yeah, one thousand, domit a thousand.
Speaker 3 (03:27):
Look, if your infall's worth anything, I'll send you a
check for fifty bucks.
Speaker 5 (03:31):
Fifty bucks, no, nine hundred.
Speaker 1 (03:35):
Okay, I'll make it seventy.
Speaker 5 (03:36):
Five, but monsieur seven fifty, how.
Speaker 3 (03:39):
About an even hundred five two four three? That's final?
Speaker 5 (03:43):
Oh please in two hundred.
Speaker 3 (03:45):
Okay two hundred, We ain't No, it's all settled. Two
hundred bucks. Now what about the Blue Madonna?
Speaker 6 (03:52):
Uh huh, yes, it is now here in Paris? Yeah
where indie shop of Michieur Dubisson on your departed.
Speaker 3 (03:58):
Lemur to Bossan, h you sure it isn't just a
copy that he'll try to foist it off on some
wealthy sucker.
Speaker 5 (04:05):
You'll be shown as he crooked and he will cook.
But here's an honest one.
Speaker 1 (04:10):
Oh sure, jeez.
Speaker 5 (04:11):
And he knows the workship barn. Also, he's very clever
to get his price. He will wait until the wheel
Madonna is discovered missing.
Speaker 1 (04:19):
If it really is, that's what I'll check on now,
and then you will you will.
Speaker 5 (04:24):
Send me the five hundred dollar, my very dear fo
end two hundred.
Speaker 1 (04:28):
Remember I cheated myself.
Speaker 6 (04:31):
But Micheur, yeah, I suppose I could find out who
smuggled the painting into him and whine that would be
worth to launch to you.
Speaker 3 (04:39):
No, say, we'll see I'll be talking to you. It
him till four to twenty. I pounded my old pal
Foster Harmon Donna Sarah Sota, Florida. Tell him I pay
is fair if he grabbed the first plane out and
meet me in Philadelphia the Bellevue Stanford Hotel. I knew
that if anybody could identify the genuine painting, he could.
(05:00):
I had him three nine forty for my own transportation
of the City of Brotherly Love. I had him four
nine fifty cocktails and dinner for the two of us.
They're at the Bellvier. Yes, the Blue Madonnad's one of
Vincent bard Those best known works. I don't think there's
another living artist who could so effectively use various shades
of just one color. But what about it, Johnny, Well,
first thing in the morning, I want you to come
(05:21):
along with me and take a look at it. It's
in the Gavin Galleries, isn't it up on Walnut Street. Yeah,
at least it's supposed to be. Suppose all I want
you to do is take a good look at it,
then reserve any comments until after we get.
Speaker 1 (05:32):
Out of the place.
Speaker 3 (05:33):
That's all well, But Johnny, the time, I want to
check with the owner of that training the telephone directory
gave me Kingsley Holland's address. I had him four six
twenty for a cab to a small apartment house out
in West Philadelphia. Holland turned out to be while I'd
say it was about thirty, short, lean and nervous, but
(05:55):
the surly expression of a man who feels the world
hasn't done right by him.
Speaker 1 (05:58):
Yeah, giving your interest in buying the Blue Banarter, well,
it hit all depends, mister Helene. Look Dollar, that what
you said?
Speaker 5 (06:08):
Your name me?
Speaker 3 (06:09):
Yes, that's right, Johnny Dollar sounds familiar. Well anyway, listen, Yeah,
that gallery's got a price of fifteen or eighteen thousand
on it. But if you want to buy a direct
from me and right now, I'll give it to you
for twelve save yourself a few thousand bucks, and it'll
save me having to pay him there twenty percent. But
if you've already commissioned the gallery to sell it for you,
(06:29):
so I'll tell him I changed my mind that I
want to keep it. Then when they find out that
I've sold it, well, I'm trying to catch up with
me and collect because me I'll be right back in
little old Gay Perry back in Paris.
Speaker 1 (06:41):
Sure i'd be there. Still, I ran out of money.
Twelve thousand.
Speaker 3 (06:45):
That's exactly what it's insured for, and that's what they
appraised it for when I got it for my uncle's estate.
Speaker 1 (06:51):
With all his money. What does he die and leave
me with? But allows he painting? Well? Do you want it?
Let me think about it. I'm staying at the Bellevue
strap shoes, shoe.
Speaker 3 (07:02):
Just don't tell them at the Gavin Gallery about our
little deal. But those crooks don't know.
Speaker 1 (07:06):
Won't hurt it.
Speaker 3 (07:07):
Crooks if you think for a minute, all that stuff
they've got laying around the place is genuine.
Speaker 1 (07:12):
But the blue Madonna is you're sure? What do you
mean by that? Just to stick around? Any reason why
I shouldn't, I don't know, is there.
Speaker 3 (07:22):
I'll wait a minute, dollars, I'll be in touch with you,
Act two of yours, truly Johnny Dollar in a moment, and.
Speaker 7 (07:32):
Now for another episode in the life of Sergeant Donald
bell Weather, my husband.
Speaker 1 (07:44):
Donald.
Speaker 7 (07:47):
Donald.
Speaker 1 (07:48):
I'm out here on the black porch.
Speaker 4 (07:49):
Honey, there you.
Speaker 7 (07:51):
Are, honey, Where on earth did you choose a time
like this to clean your honey rifles?
Speaker 1 (07:55):
We do it the Jamisons at seven.
Speaker 8 (07:56):
I'm worady. Honey, all I have to do is wash
my hands off this tomorrow be with you in the gypsy.
Speaker 7 (08:02):
Donald, come back here, I know what's the matter. Are
you going to leave this hunting rifle right out here
in plain sight?
Speaker 8 (08:08):
Nobody's gonna bother it. The kids are asleep and will
be gone. I don't think our babysit it'll bother anything.
Speaker 1 (08:14):
She's got her homework to do.
Speaker 7 (08:15):
Those are famous last words if I ever heard him, Donald,
don't you realize that accidental death by firearms ranks second
only to death from.
Speaker 1 (08:23):
Fall, fire and poison. But the kids are in bed,
sure they are.
Speaker 7 (08:27):
But what if our six year old Marshall Villain should
wander out of the kitchen for a drink of water.
Speaker 1 (08:32):
You know he'd love to play with his gun? Yeah,
I suppose.
Speaker 7 (08:35):
Well please put it away under lock and key, Yes, dear, yes, right,
And for heaven's sakes, take those shelves too.
Speaker 1 (08:41):
You know many accidents happen when bullets are thrown into
a fire or hit with a hammer. Those things are dangerous.
Speaker 7 (08:46):
You want to know that.
Speaker 1 (08:47):
I know, Hony. I guess I just wasn't thinking.
Speaker 7 (08:49):
Unloaded gun and ammunition lying around the house is even
more dangerous than itchy fingered hunters.
Speaker 8 (08:54):
Statistics prove that okay, there, everything is safe under lock
and key.
Speaker 1 (08:59):
You still angry with me?
Speaker 7 (09:00):
Oh, Johnald, I don't want to sound like a nagging wife,
but my dear, you have every right to reprimand me.
Speaker 4 (09:07):
Me a non.
Speaker 8 (09:08):
Commissioned officer, I should know better what that's where it goes.
Speaker 1 (09:13):
We forget. That's why there are accidents in the field,
out hunting, and in the home. We all know better.
We just forget or get careless with firearms. Well, it's
going along. Let's get over to the jym Okay, now
this won't happen again. Believe me.
Speaker 8 (09:27):
You know I wouldn't have started to clean that rifle
if you hadn't taken so long to get dressed.
Speaker 1 (09:32):
But you should did a good job. You look beautiful.
Speaker 7 (09:36):
That's my don that's.
Speaker 5 (09:39):
My dogar.
Speaker 3 (09:52):
No act too off yours truly, Johnny Dollar and the
Blue Madonna matter at Kingsley Holland. The owner of the
painting recognized my name, I thought so. And if a
switch in that painting had been made and he knew
about it, well, I'd do well to look out for him. Yeah,
the more I thought about it, the more certain I
became that whatever hung in the Gavin Galleries was not
(10:14):
the Blue Madonna. I had them five another six bucks
for a taxi back to my hotel, Item six five
eighty breakfast the next morning for Foster Harmon and myself.
By ten o'clock we were at the Gavin Gallerries looking
at a pretty modern but I must say, beautiful painting.
It's amazing, Johnny, amazing, the most extraordinary. Well, I just
can't believe it. Can't believe what Foster that it's the
(10:37):
real thing or just a good copy? Oh, good morning,
that's just it, you see, Johnny, call it us.
Speaker 1 (10:45):
That painting, you know is a genuine Bardeau.
Speaker 3 (10:48):
Yeah, my name is Johnny Dollar. This is mister Foster Harmon. Gentlemen,
I'm on, little Gavin. You're interested in buying the Blue Madonna?
If this is really Johnny? Wait, Foster, what is the
price of it, mister Gavin? Twenty thousand, mister Dollar, did
you say?
Speaker 1 (11:09):
Yeah?
Speaker 3 (11:09):
But wow, haven't you got a bard that's a bit cheaper?
His Laconic Lagoon is priced to ten thousand? Holy well,
how about a copy of this BARDEO has never allowed
his works to be copied. Johnny, listen, yeah, Foster, looks
like this stuff is too rich for our blood. Oh
come on, let's go back to the Bellevue Stratford.
Speaker 1 (11:31):
No, perhaps there's something else that might interest you. No,
I'm afraid not, but thank you. That's quite all right.
Speaker 3 (11:40):
Johnny list come on, yeah, now, Johnny, just take it easy.
Woll Foss, it's a fraud. Johnny, it's a copy.
Speaker 1 (11:53):
I'm sure of it. Hey, hey, hey, did you say
that Blue Madonna is a copy?
Speaker 4 (11:56):
Mister?
Speaker 6 (11:56):
Yeah?
Speaker 3 (11:56):
Wait wait I thought you were looking at it kind
of funny there in the gallery, Yes, sir, to fraud Foster.
Speaker 1 (12:00):
Now you don't mind my asking. Who are you?
Speaker 3 (12:03):
My name is fasta Harmon Harmon from the John Ringing
Museum down in Florida.
Speaker 1 (12:07):
That's right, well, and you ought to not just a minute, mister, Hey,
aren't you Johnny Donard, the insurance investigator? So what who
are you me? I'm Rupe Allaway of Transworld News Service
News Service. Oh fu yeah, I'll see you boy. Then
thanks a lot. Well, Foss, it looks like you opened
your mouth and stuck my foot in it.
Speaker 3 (12:23):
I'm sorry, Johnny, but what I said is true that
Blue Madonna is an imitation a phony that watch.
Speaker 1 (12:29):
I already knew, at least I was pretty sure of it.
But don't you see the amazing thing?
Speaker 3 (12:34):
Well, Johnny, that copy is so perfect, so exactly in
the style of Vincent Bardoux, even to little things, little
idiosyncrasies that even the finest copyist couldn't match, Certain minute
details about an artist worker as distinctive, as impossible to
copy as a man's own fingerprints.
Speaker 4 (12:51):
Yeah.
Speaker 3 (12:52):
What I'm trying to say is that if I didn't
know every brush mark on the original.
Speaker 1 (12:56):
Okay, Foster, forget it, forget it.
Speaker 3 (12:59):
Hey, listen, Kingsley Holland the owner, and I wouldn't trust
him for a minute.
Speaker 1 (13:03):
I think he knows who I am.
Speaker 3 (13:05):
If so, and if he knows that painting is just
a copy, well he's pretty sure to figure out what
I'm doing.
Speaker 1 (13:09):
Here, Johnny.
Speaker 3 (13:10):
He must know it's a copy if he gave it
to the galleries to sell, perhaps, or maybe the switch
was made after it was hung there, then what you're
saying is that either one of them could be responsible
for the fraud.
Speaker 4 (13:23):
That's right.
Speaker 3 (13:24):
How well do you know the Gavin Galleries? Well, and
I'm very big. You could see that for yourself, and
of course they're rather new in the business. I think
i'd better get a rundown on this. Arnold Gavin, WHI
while waiting at the hotel, waiting what for? Well, you're
playing a couple of seeds. You hope that one of
them was sprout. I'm afraid I don't understand fasst. I
(13:45):
told both of them who I am, and the hope
they'd guess it why I'm here. I also gave them
reasons to suspect I think that Blue Madonna is a phony.
I'm afraid that I may have led Arnold Gavin to
feel that way. Same thing. I also made it very
plain to them that I'm staying at the Bellevue Strap.
Speaker 1 (14:00):
In other words, good heavens, Johnny, if you mean what
I think you do? Yeah, like, what for us?
Speaker 3 (14:07):
You think that one of them, the crook, will come
to the hotel and try to try, don't you see, Johnny,
knowing that you're onto him, he might try to kill you.
Can you think of a better way to bring him
out in the open? Johnny, come on, let's get back
to the hotel and wait. Act three of yours truly
(14:34):
Johnny Dollar in a moment. Do you know who said?
Speaker 9 (14:38):
Every individual in society has certain powers, rights, and privileges
which no other individual can justly abridge or destroy.
Speaker 1 (14:49):
Those words were written.
Speaker 9 (14:50):
By Noah Webster, the man who compiled America's first great dictionary.
Mister Webster knew that if the country which he had
seen come into being were to succeed, the rights of
the individual have to be protected. Each person is entitled
to certain basic rights, powers, and privileges which must not
be taken away because of the whim of someone with
(15:12):
greater power. In the United States, the individual is important,
regardless of his wealth, power, or position. The importance of
the individual is closely linked to the American tradition. Remember
the words of Noah Webster. They are part of your
American heritage. The rights and privileges of the individual must
(15:36):
be preserved. And now act three of yours, truly, Johnny Dollars.
After all, there was no reason to drag Foster any
further into this mess, although I know he began to
see it through. So I paid him for all his
expenses that's adem seven, one hundred and fifty one even,
and sent him on back to Sarasota. Itam eight cent
cents for a phone call a sergeant Jerry Hawkins of
(15:57):
police headquarters about mid after none.
Speaker 4 (16:00):
He called me back, boy, did you ever start a riot?
Speaker 1 (16:03):
Well, once you find out for me about Gavin and Holland.
Speaker 4 (16:05):
Holland's just a lazy kid that's been trying to live
off his relatives all his life.
Speaker 1 (16:09):
And Gavin okay, so far as we know.
Speaker 4 (16:11):
But listen, you've seen the papers. No, the story about
that phony painting is on every wire service in the country.
Only you can see the headlines. Is that named Bardo?
And I don't mean bridget Johnny, you and that Foster
Herman ought to collect a publicity fee?
Speaker 1 (16:25):
Are you holding Gavin and Holland?
Speaker 6 (16:27):
What on?
Speaker 4 (16:28):
Sure? The boys have questioned both of them, But unless
we can show some evidence that one of them pulled
the switch? Johnny, you got any ideas?
Speaker 1 (16:36):
Yeah, Jerry, Suddenly I think maybe.
Speaker 4 (16:38):
I have ell and start talking so I can make
a pinch.
Speaker 1 (16:41):
No, I don't think you will.
Speaker 4 (16:43):
What do you mean if you know who did it?
Speaker 3 (16:45):
I didn't say that, but uh, Jerry, I've got a
hunch your real potent one and if it's.
Speaker 1 (16:50):
Right, Yeah, we'll read tomorrow's papers.
Speaker 3 (16:53):
Huh, It'm nine and a half a buck for an
evening paper and a tip of the bell boy who
brought it up to me. Yeah, De Sadey was right.
This was the most free advertising any artist has had
in years. Prices on genuine Bardeaux were skyrocket As for
a fake blue Madonna. I've put in a fast call
for Paris, but before the operator could get it through.
Speaker 1 (17:17):
Yeah, Donald, Gavin, mister dolla, Well do you see what
has happened? Have you seen the papers? I sure have,
and the police have closed my shop, my galleries. Can
you blame them?
Speaker 10 (17:30):
But don't you understand I've had offers of up to
thirty thousand for the Madonna. I've received wires offering me
nearly twenty thousand for the other.
Speaker 1 (17:37):
Bardo, the real one. No kidding, I'll show you how
much I'm kidding.
Speaker 10 (17:41):
I've cabled Bardo to paint some more for me, paint anything,
don't you see?
Speaker 1 (17:45):
After all, this publicity will make familiar. So it was
you that rigged this whole thing.
Speaker 3 (17:49):
Gavin, I'm mister holliw of course, not sure to raise
the price of some of your lousy painting.
Speaker 1 (17:54):
How can you say that you who gave me that copy?
Expert You trying to tell me you didn't know that
was a copy.
Speaker 10 (18:01):
No, it was only this morning when the authority from Sarasota,
when I called in the people from the museum here
in Philadelphia.
Speaker 5 (18:08):
Do know what? They said?
Speaker 3 (18:10):
What?
Speaker 1 (18:10):
And it better be good?
Speaker 10 (18:11):
They said, the only one who could have made that copy,
the only artist in the world who could have called it.
Speaker 3 (18:16):
Hold everything, Holland, you said you got that painty from
your uncle's estate.
Speaker 1 (18:21):
That's right, it was will to me. Where did your
uncle get it?
Speaker 4 (18:24):
Wife?
Speaker 1 (18:26):
Well, listen, I'm listening. Dollar, That Madonna was smuggled into
smuggled that's right, but by whom? Well, believe it or not.
Speaker 3 (18:34):
I think I can tell you who and if this
is my call to Paris, or maybe I can even
tell you where he is now, Johnny Dollar.
Speaker 5 (18:43):
Your dear and faithful friendly.
Speaker 1 (18:45):
Chak good now listen and for the information I.
Speaker 5 (18:49):
Can give you this time, Oh, you will have to
pay me a lash sum of money.
Speaker 3 (18:54):
You're about to tell me that the Blue Madonna was
smuggled into Paris by none other than the artist and self,
by Vincent Bardeaux.
Speaker 5 (19:02):
Exactly so that should be worth it. But how did
you know?
Speaker 1 (19:06):
All right? All I want to know now is where
is he?
Speaker 4 (19:09):
You know he's not in Paris?
Speaker 1 (19:12):
Where is he?
Speaker 3 (19:14):
For one hundred bucks? One hundred and fifty three? Oh,
for that much, I'll find out for myself. Comebye, No, okay,
two hundred or I hang up on you.
Speaker 6 (19:23):
Well, only for you, my best, my oldest friend. Where
he is a boy to playing for the United States?
I might I guessed him he has the Madonna Blue
with him.
Speaker 5 (19:33):
He received a.
Speaker 3 (19:34):
Cable this morning, Gray, I'll send you a check. You
hear any of that, mister Gavin, I don't.
Speaker 1 (19:40):
Yes, I'm afraid I don't understand.
Speaker 3 (19:42):
I sure him, and maybe this call will help you. Headquarters,
Sergeant Jerry Hawkins.
Speaker 4 (19:54):
Yes, sir, Sergeant Hawkins.
Speaker 3 (19:59):
You can have the boy in New York pick him
up or wait for his plane to arrive here in Philadelphia, Johnny,
if you're sure you really have any charges against him?
What he's on his way in from Paris? The guy
who painted the copy of the Blue Madonna? Or maybe
this is really the original over here? Huh Well, anyway,
he'll have the other copy with him. So do you
(20:19):
want to tell the papers or she'll I.
Speaker 4 (20:21):
Look, will you make sense? Oh?
Speaker 3 (20:22):
And his name is Bardell, that's right, Vincent Bardell. Wow,
you mean that he that he painted two of them? Sure,
with probably something like this in mine, got it. Look
look what it's done for him. Put him on the map.
Anything he paints Now, I'll let him a fortune. And
I don't think you'll suffer particularly either, mister Gavin. It's
(20:43):
for you, Holland, well you'll get a lot more than
you thought for that paint of yours. Man, what a
fast sure? But you know something, hmmm. I just wonder
if lashaw Gree was in on this thing with him
from the beginning, the chah gri so help me. I
wouldn't put it beyond him. Sure, sure he was in
(21:10):
with Bardoe and probably collecting plenty from him. Anyhow, the
insurance company is not anything, but I hope they'll be
a lot more careful the next time they ensure a painting.
Speaker 1 (21:20):
Any so called original.
Speaker 3 (21:22):
Expense acount total including four hundred for le Chacqrie, the
hotel and the trip back to Hydfrid six hundred and
twenty dollars even yours truly, Johnny Dollar, Yours truly, Johnny
(22:06):
dollars starring Bob Bailey, originates in Hollywood and has written, produced,
and directed by Jack Johnstone. Heard in our cast were g.
Stanley Jones, Boris Lewis, Harry Bartel, Joseph Kerns, Bert Holland
and Byron Ka.
Speaker 1 (22:20):
Be sure to join us.
Speaker 3 (22:21):
Next week, same time and station, or another exciting story
of yours, truly, Johnny Dollar. Johnny Dollar has come to
(23:12):
you through the worldwide facilities of the United States Armed
Forces Radio and Television Service,
From Hollywood. It's time now for Johnny Dollar.
Speaker 2 (00:08):
George Reed here Johnny.
Speaker 1 (00:09):
Well, George, I'm really glad to talk to you.
Speaker 2 (00:12):
Oh why do you say it that way?
Speaker 3 (00:13):
Because every insurance case I handle for that company of
yours pays me a nice fat fee, and right now
I can use a little extra case. Well, john so
tell me all. What's Floyd's of England? Upset about this time?
Speaker 2 (00:23):
Well, I'm not sure.
Speaker 1 (00:25):
Oh, here we go again.
Speaker 2 (00:26):
But Johnny, I just received a transatlantic telephone call from
Paris friends for a man who wanted to contact you
but didn't know where to call you. And he identified
himself only as l shaw Gree.
Speaker 1 (00:36):
Oh, the shaw Gree.
Speaker 2 (00:39):
It's French, Johnny, and I believe it means the gray cat.
Speaker 1 (00:42):
Yeah, and George, the name fits him.
Speaker 4 (00:45):
You know him? Then?
Speaker 1 (00:46):
His real name is DeMar Sack.
Speaker 3 (00:48):
He probably knows more about the dark alleys and backstreets
of Paris and about the people, in other words, the underworld.
Speaker 1 (00:54):
What did he call about?
Speaker 2 (00:55):
He mentioned the Blue Madonna. What it's a painting, Johnny,
is small oil painting by a modern artist named Vincent Bardo.
It's owned by a mister Kingsley Holland don in Philadelphia.
Speaker 4 (01:05):
Yeah, it hangs in the Gavin.
Speaker 2 (01:07):
Galleries and we've insured it for twelve thousand dollars.
Speaker 1 (01:10):
Well, what did he have to say about it?
Speaker 2 (01:11):
Only that you're to call him his number there in
Paris Is Orleans five seven seven two two, that he
has some very interesting information for you about that painting.
Speaker 1 (01:21):
Oh, sure that he'll be glad to give me for
a price.
Speaker 4 (01:23):
Exactly.
Speaker 2 (01:24):
I can't, for the life of me figure what his
interest isn't it If there were anything amiss, I'm sure
the gallery would.
Speaker 1 (01:29):
Have called me, George.
Speaker 3 (01:30):
If you knew that character as well as I do,
you'd okay my expense account without even looking at it
and be willing to pay me that big fee.
Speaker 1 (01:36):
I was talking about it.
Speaker 4 (01:37):
What do you mean?
Speaker 1 (01:38):
Want to make a bet? What kind of a bet
I'll give you.
Speaker 3 (01:41):
Ond's a ten to one that whatever's hanging in that
gallery down there in Philadelphia is not the Blue Madonna.
Speaker 2 (01:46):
What now, look, Johnny, good Heaven.
Speaker 1 (01:48):
George, I'll be talking to you.
Speaker 3 (01:58):
Bob Bailey in the Citing Adventures of the Man with
the Action Packed Expense Account, America's fabulous freelance insurance investigator.
Speaker 1 (02:06):
Ours truly Johnny Dollar no act one of yours, truly Johnny.
Speaker 3 (02:16):
Dollar expense account submitted by Special Investigator Johnny Dollar to
Floyd's of England, North American Office, Hartford, Connecticut, following his
(02:38):
an account of expenses incurred during my investigation of the
Blue Madonna matter. Expense account HadAM won twelve dollars even
for a phone call to my underworld contact in Paris, France,
a man by the name of Dumar Sack who calls
himself the gray Cat.
Speaker 5 (02:54):
Hah lo mischi darlare DC you all your very dear friend, the.
Speaker 1 (03:00):
Chau very dear friend.
Speaker 3 (03:02):
Huh now listen, you telephoned George read that you have
some real hot information about a painting his company.
Speaker 6 (03:07):
In short, uh we lit Madonna blue? What did you
call the Blue Mandona?
Speaker 1 (03:12):
Okay? How much you want this time?
Speaker 6 (03:14):
Oh monsieur, you touched me to the quick one. One
might think that our slave on the shuffer and reached
my life on your behalf?
Speaker 5 (03:21):
Only for money?
Speaker 1 (03:22):
How much to my sec see?
Speaker 4 (03:24):
Yeah, one thousand, domit a thousand.
Speaker 3 (03:27):
Look, if your infall's worth anything, I'll send you a
check for fifty bucks.
Speaker 5 (03:31):
Fifty bucks, no, nine hundred.
Speaker 1 (03:35):
Okay, I'll make it seventy.
Speaker 5 (03:36):
Five, but monsieur seven fifty, how.
Speaker 3 (03:39):
About an even hundred five two four three? That's final?
Speaker 5 (03:43):
Oh please in two hundred.
Speaker 3 (03:45):
Okay two hundred, We ain't No, it's all settled. Two
hundred bucks. Now what about the Blue Madonna?
Speaker 6 (03:52):
Uh huh, yes, it is now here in Paris? Yeah
where indie shop of Michieur Dubisson on your departed.
Speaker 3 (03:58):
Lemur to Bossan, h you sure it isn't just a
copy that he'll try to foist it off on some
wealthy sucker.
Speaker 5 (04:05):
You'll be shown as he crooked and he will cook.
But here's an honest one.
Speaker 1 (04:10):
Oh sure, jeez.
Speaker 5 (04:11):
And he knows the workship barn. Also, he's very clever
to get his price. He will wait until the wheel
Madonna is discovered missing.
Speaker 1 (04:19):
If it really is, that's what I'll check on now,
and then you will you will.
Speaker 5 (04:24):
Send me the five hundred dollar, my very dear fo
end two hundred.
Speaker 1 (04:28):
Remember I cheated myself.
Speaker 6 (04:31):
But Micheur, yeah, I suppose I could find out who
smuggled the painting into him and whine that would be
worth to launch to you.
Speaker 3 (04:39):
No, say, we'll see I'll be talking to you. It
him till four to twenty. I pounded my old pal
Foster Harmon Donna Sarah Sota, Florida. Tell him I pay
is fair if he grabbed the first plane out and
meet me in Philadelphia the Bellevue Stanford Hotel. I knew
that if anybody could identify the genuine painting, he could.
(05:00):
I had him three nine forty for my own transportation
of the City of Brotherly Love. I had him four
nine fifty cocktails and dinner for the two of us.
They're at the Bellvier. Yes, the Blue Madonnad's one of
Vincent bard Those best known works. I don't think there's
another living artist who could so effectively use various shades
of just one color. But what about it, Johnny, Well,
first thing in the morning, I want you to come
(05:21):
along with me and take a look at it. It's
in the Gavin Galleries, isn't it up on Walnut Street. Yeah,
at least it's supposed to be. Suppose all I want
you to do is take a good look at it,
then reserve any comments until after we get.
Speaker 1 (05:32):
Out of the place.
Speaker 3 (05:33):
That's all well, But Johnny, the time, I want to
check with the owner of that training the telephone directory
gave me Kingsley Holland's address. I had him four six
twenty for a cab to a small apartment house out
in West Philadelphia. Holland turned out to be while I'd
say it was about thirty, short, lean and nervous, but
(05:55):
the surly expression of a man who feels the world
hasn't done right by him.
Speaker 1 (05:58):
Yeah, giving your interest in buying the Blue Banarter, well,
it hit all depends, mister Helene. Look Dollar, that what
you said?
Speaker 5 (06:08):
Your name me?
Speaker 3 (06:09):
Yes, that's right, Johnny Dollar sounds familiar. Well anyway, listen, Yeah,
that gallery's got a price of fifteen or eighteen thousand
on it. But if you want to buy a direct
from me and right now, I'll give it to you
for twelve save yourself a few thousand bucks, and it'll
save me having to pay him there twenty percent. But
if you've already commissioned the gallery to sell it for you,
(06:29):
so I'll tell him I changed my mind that I
want to keep it. Then when they find out that
I've sold it, well, I'm trying to catch up with
me and collect because me I'll be right back in
little old Gay Perry back in Paris.
Speaker 1 (06:41):
Sure i'd be there. Still, I ran out of money.
Twelve thousand.
Speaker 3 (06:45):
That's exactly what it's insured for, and that's what they
appraised it for when I got it for my uncle's estate.
Speaker 1 (06:51):
With all his money. What does he die and leave
me with? But allows he painting? Well? Do you want it?
Let me think about it. I'm staying at the Bellevue
strap shoes, shoe.
Speaker 3 (07:02):
Just don't tell them at the Gavin Gallery about our
little deal. But those crooks don't know.
Speaker 1 (07:06):
Won't hurt it.
Speaker 3 (07:07):
Crooks if you think for a minute, all that stuff
they've got laying around the place is genuine.
Speaker 1 (07:12):
But the blue Madonna is you're sure? What do you
mean by that? Just to stick around? Any reason why
I shouldn't, I don't know, is there.
Speaker 3 (07:22):
I'll wait a minute, dollars, I'll be in touch with you,
Act two of yours, truly Johnny Dollar in a moment, and.
Speaker 7 (07:32):
Now for another episode in the life of Sergeant Donald
bell Weather, my husband.
Speaker 1 (07:44):
Donald.
Speaker 7 (07:47):
Donald.
Speaker 1 (07:48):
I'm out here on the black porch.
Speaker 4 (07:49):
Honey, there you.
Speaker 7 (07:51):
Are, honey, Where on earth did you choose a time
like this to clean your honey rifles?
Speaker 1 (07:55):
We do it the Jamisons at seven.
Speaker 8 (07:56):
I'm worady. Honey, all I have to do is wash
my hands off this tomorrow be with you in the gypsy.
Speaker 7 (08:02):
Donald, come back here, I know what's the matter. Are
you going to leave this hunting rifle right out here
in plain sight?
Speaker 8 (08:08):
Nobody's gonna bother it. The kids are asleep and will
be gone. I don't think our babysit it'll bother anything.
Speaker 1 (08:14):
She's got her homework to do.
Speaker 7 (08:15):
Those are famous last words if I ever heard him, Donald,
don't you realize that accidental death by firearms ranks second
only to death from.
Speaker 1 (08:23):
Fall, fire and poison. But the kids are in bed,
sure they are.
Speaker 7 (08:27):
But what if our six year old Marshall Villain should
wander out of the kitchen for a drink of water.
Speaker 1 (08:32):
You know he'd love to play with his gun? Yeah,
I suppose.
Speaker 7 (08:35):
Well please put it away under lock and key, Yes, dear, yes, right,
And for heaven's sakes, take those shelves too.
Speaker 1 (08:41):
You know many accidents happen when bullets are thrown into
a fire or hit with a hammer. Those things are dangerous.
Speaker 7 (08:46):
You want to know that.
Speaker 1 (08:47):
I know, Hony. I guess I just wasn't thinking.
Speaker 7 (08:49):
Unloaded gun and ammunition lying around the house is even
more dangerous than itchy fingered hunters.
Speaker 8 (08:54):
Statistics prove that okay, there, everything is safe under lock
and key.
Speaker 1 (08:59):
You still angry with me?
Speaker 7 (09:00):
Oh, Johnald, I don't want to sound like a nagging wife,
but my dear, you have every right to reprimand me.
Speaker 4 (09:07):
Me a non.
Speaker 8 (09:08):
Commissioned officer, I should know better what that's where it goes.
Speaker 1 (09:13):
We forget. That's why there are accidents in the field,
out hunting, and in the home. We all know better.
We just forget or get careless with firearms. Well, it's
going along. Let's get over to the jym Okay, now
this won't happen again. Believe me.
Speaker 8 (09:27):
You know I wouldn't have started to clean that rifle
if you hadn't taken so long to get dressed.
Speaker 1 (09:32):
But you should did a good job. You look beautiful.
Speaker 7 (09:36):
That's my don that's.
Speaker 5 (09:39):
My dogar.
Speaker 3 (09:52):
No act too off yours truly, Johnny Dollar and the
Blue Madonna matter at Kingsley Holland. The owner of the
painting recognized my name, I thought so. And if a
switch in that painting had been made and he knew
about it, well, I'd do well to look out for him. Yeah,
the more I thought about it, the more certain I
became that whatever hung in the Gavin Galleries was not
(10:14):
the Blue Madonna. I had them five another six bucks
for a taxi back to my hotel, Item six five
eighty breakfast the next morning for Foster Harmon and myself.
By ten o'clock we were at the Gavin Gallerries looking
at a pretty modern but I must say, beautiful painting.
It's amazing, Johnny, amazing, the most extraordinary. Well, I just
can't believe it. Can't believe what Foster that it's the
(10:37):
real thing or just a good copy? Oh, good morning,
that's just it, you see, Johnny, call it us.
Speaker 1 (10:45):
That painting, you know is a genuine Bardeau.
Speaker 3 (10:48):
Yeah, my name is Johnny Dollar. This is mister Foster Harmon. Gentlemen,
I'm on, little Gavin. You're interested in buying the Blue Madonna?
If this is really Johnny? Wait, Foster, what is the
price of it, mister Gavin? Twenty thousand, mister Dollar, did
you say?
Speaker 1 (11:09):
Yeah?
Speaker 3 (11:09):
But wow, haven't you got a bard that's a bit cheaper?
His Laconic Lagoon is priced to ten thousand? Holy well,
how about a copy of this BARDEO has never allowed
his works to be copied. Johnny, listen, yeah, Foster, looks
like this stuff is too rich for our blood. Oh
come on, let's go back to the Bellevue Stratford.
Speaker 1 (11:31):
No, perhaps there's something else that might interest you. No,
I'm afraid not, but thank you. That's quite all right.
Speaker 3 (11:40):
Johnny list come on, yeah, now, Johnny, just take it easy.
Woll Foss, it's a fraud. Johnny, it's a copy.
Speaker 1 (11:53):
I'm sure of it. Hey, hey, hey, did you say
that Blue Madonna is a copy?
Speaker 4 (11:56):
Mister?
Speaker 6 (11:56):
Yeah?
Speaker 3 (11:56):
Wait wait I thought you were looking at it kind
of funny there in the gallery, Yes, sir, to fraud Foster.
Speaker 1 (12:00):
Now you don't mind my asking. Who are you?
Speaker 3 (12:03):
My name is fasta Harmon Harmon from the John Ringing
Museum down in Florida.
Speaker 1 (12:07):
That's right, well, and you ought to not just a minute, mister, Hey,
aren't you Johnny Donard, the insurance investigator? So what who
are you me? I'm Rupe Allaway of Transworld News Service
News Service. Oh fu yeah, I'll see you boy. Then
thanks a lot. Well, Foss, it looks like you opened
your mouth and stuck my foot in it.
Speaker 3 (12:23):
I'm sorry, Johnny, but what I said is true that
Blue Madonna is an imitation a phony that watch.
Speaker 1 (12:29):
I already knew, at least I was pretty sure of it.
But don't you see the amazing thing?
Speaker 3 (12:34):
Well, Johnny, that copy is so perfect, so exactly in
the style of Vincent Bardoux, even to little things, little
idiosyncrasies that even the finest copyist couldn't match, Certain minute
details about an artist worker as distinctive, as impossible to
copy as a man's own fingerprints.
Speaker 4 (12:51):
Yeah.
Speaker 3 (12:52):
What I'm trying to say is that if I didn't
know every brush mark on the original.
Speaker 1 (12:56):
Okay, Foster, forget it, forget it.
Speaker 3 (12:59):
Hey, listen, Kingsley Holland the owner, and I wouldn't trust
him for a minute.
Speaker 1 (13:03):
I think he knows who I am.
Speaker 3 (13:05):
If so, and if he knows that painting is just
a copy, well he's pretty sure to figure out what
I'm doing.
Speaker 1 (13:09):
Here, Johnny.
Speaker 3 (13:10):
He must know it's a copy if he gave it
to the galleries to sell, perhaps, or maybe the switch
was made after it was hung there, then what you're
saying is that either one of them could be responsible
for the fraud.
Speaker 4 (13:23):
That's right.
Speaker 3 (13:24):
How well do you know the Gavin Galleries? Well, and
I'm very big. You could see that for yourself, and
of course they're rather new in the business. I think
i'd better get a rundown on this. Arnold Gavin, WHI
while waiting at the hotel, waiting what for? Well, you're
playing a couple of seeds. You hope that one of
them was sprout. I'm afraid I don't understand fasst. I
(13:45):
told both of them who I am, and the hope
they'd guess it why I'm here. I also gave them
reasons to suspect I think that Blue Madonna is a phony.
I'm afraid that I may have led Arnold Gavin to
feel that way. Same thing. I also made it very
plain to them that I'm staying at the Bellevue Strap.
Speaker 1 (14:00):
In other words, good heavens, Johnny, if you mean what
I think you do? Yeah, like, what for us?
Speaker 3 (14:07):
You think that one of them, the crook, will come
to the hotel and try to try, don't you see, Johnny,
knowing that you're onto him, he might try to kill you.
Can you think of a better way to bring him
out in the open? Johnny, come on, let's get back
to the hotel and wait. Act three of yours truly
(14:34):
Johnny Dollar in a moment. Do you know who said?
Speaker 9 (14:38):
Every individual in society has certain powers, rights, and privileges
which no other individual can justly abridge or destroy.
Speaker 1 (14:49):
Those words were written.
Speaker 9 (14:50):
By Noah Webster, the man who compiled America's first great dictionary.
Mister Webster knew that if the country which he had
seen come into being were to succeed, the rights of
the individual have to be protected. Each person is entitled
to certain basic rights, powers, and privileges which must not
be taken away because of the whim of someone with
(15:12):
greater power. In the United States, the individual is important,
regardless of his wealth, power, or position. The importance of
the individual is closely linked to the American tradition. Remember
the words of Noah Webster. They are part of your
American heritage. The rights and privileges of the individual must
(15:36):
be preserved. And now act three of yours, truly, Johnny Dollars.
After all, there was no reason to drag Foster any
further into this mess, although I know he began to
see it through. So I paid him for all his
expenses that's adem seven, one hundred and fifty one even,
and sent him on back to Sarasota. Itam eight cent
cents for a phone call a sergeant Jerry Hawkins of
(15:57):
police headquarters about mid after none.
Speaker 4 (16:00):
He called me back, boy, did you ever start a riot?
Speaker 1 (16:03):
Well, once you find out for me about Gavin and Holland.
Speaker 4 (16:05):
Holland's just a lazy kid that's been trying to live
off his relatives all his life.
Speaker 1 (16:09):
And Gavin okay, so far as we know.
Speaker 4 (16:11):
But listen, you've seen the papers. No, the story about
that phony painting is on every wire service in the country.
Only you can see the headlines. Is that named Bardo?
And I don't mean bridget Johnny, you and that Foster
Herman ought to collect a publicity fee?
Speaker 1 (16:25):
Are you holding Gavin and Holland?
Speaker 6 (16:27):
What on?
Speaker 4 (16:28):
Sure? The boys have questioned both of them, But unless
we can show some evidence that one of them pulled
the switch? Johnny, you got any ideas?
Speaker 1 (16:36):
Yeah, Jerry, Suddenly I think maybe.
Speaker 4 (16:38):
I have ell and start talking so I can make
a pinch.
Speaker 1 (16:41):
No, I don't think you will.
Speaker 4 (16:43):
What do you mean if you know who did it?
Speaker 3 (16:45):
I didn't say that, but uh, Jerry, I've got a
hunch your real potent one and if it's.
Speaker 1 (16:50):
Right, Yeah, we'll read tomorrow's papers.
Speaker 3 (16:53):
Huh, It'm nine and a half a buck for an
evening paper and a tip of the bell boy who
brought it up to me. Yeah, De Sadey was right.
This was the most free advertising any artist has had
in years. Prices on genuine Bardeaux were skyrocket As for
a fake blue Madonna. I've put in a fast call
for Paris, but before the operator could get it through.
Speaker 1 (17:17):
Yeah, Donald, Gavin, mister dolla, Well do you see what
has happened? Have you seen the papers? I sure have,
and the police have closed my shop, my galleries. Can
you blame them?
Speaker 10 (17:30):
But don't you understand I've had offers of up to
thirty thousand for the Madonna. I've received wires offering me
nearly twenty thousand for the other.
Speaker 1 (17:37):
Bardo, the real one. No kidding, I'll show you how
much I'm kidding.
Speaker 10 (17:41):
I've cabled Bardo to paint some more for me, paint anything,
don't you see?
Speaker 1 (17:45):
After all, this publicity will make familiar. So it was
you that rigged this whole thing.
Speaker 3 (17:49):
Gavin, I'm mister holliw of course, not sure to raise
the price of some of your lousy painting.
Speaker 1 (17:54):
How can you say that you who gave me that copy?
Expert You trying to tell me you didn't know that
was a copy.
Speaker 10 (18:01):
No, it was only this morning when the authority from Sarasota,
when I called in the people from the museum here
in Philadelphia.
Speaker 5 (18:08):
Do know what? They said?
Speaker 3 (18:10):
What?
Speaker 1 (18:10):
And it better be good?
Speaker 10 (18:11):
They said, the only one who could have made that copy,
the only artist in the world who could have called it.
Speaker 3 (18:16):
Hold everything, Holland, you said you got that painty from
your uncle's estate.
Speaker 1 (18:21):
That's right, it was will to me. Where did your
uncle get it?
Speaker 4 (18:24):
Wife?
Speaker 1 (18:26):
Well, listen, I'm listening. Dollar, That Madonna was smuggled into
smuggled that's right, but by whom? Well, believe it or not.
Speaker 3 (18:34):
I think I can tell you who and if this
is my call to Paris, or maybe I can even
tell you where he is now, Johnny Dollar.
Speaker 5 (18:43):
Your dear and faithful friendly.
Speaker 1 (18:45):
Chak good now listen and for the information I.
Speaker 5 (18:49):
Can give you this time, Oh, you will have to
pay me a lash sum of money.
Speaker 3 (18:54):
You're about to tell me that the Blue Madonna was
smuggled into Paris by none other than the artist and self,
by Vincent Bardeaux.
Speaker 5 (19:02):
Exactly so that should be worth it. But how did
you know?
Speaker 1 (19:06):
All right? All I want to know now is where
is he?
Speaker 4 (19:09):
You know he's not in Paris?
Speaker 1 (19:12):
Where is he?
Speaker 3 (19:14):
For one hundred bucks? One hundred and fifty three? Oh,
for that much, I'll find out for myself. Comebye, No, okay,
two hundred or I hang up on you.
Speaker 6 (19:23):
Well, only for you, my best, my oldest friend. Where
he is a boy to playing for the United States?
I might I guessed him he has the Madonna Blue
with him.
Speaker 5 (19:33):
He received a.
Speaker 3 (19:34):
Cable this morning, Gray, I'll send you a check. You
hear any of that, mister Gavin, I don't.
Speaker 1 (19:40):
Yes, I'm afraid I don't understand.
Speaker 3 (19:42):
I sure him, and maybe this call will help you. Headquarters,
Sergeant Jerry Hawkins.
Speaker 4 (19:54):
Yes, sir, Sergeant Hawkins.
Speaker 3 (19:59):
You can have the boy in New York pick him
up or wait for his plane to arrive here in Philadelphia, Johnny,
if you're sure you really have any charges against him?
What he's on his way in from Paris? The guy
who painted the copy of the Blue Madonna? Or maybe
this is really the original over here? Huh Well, anyway,
he'll have the other copy with him. So do you
(20:19):
want to tell the papers or she'll I.
Speaker 4 (20:21):
Look, will you make sense? Oh?
Speaker 3 (20:22):
And his name is Bardell, that's right, Vincent Bardell. Wow,
you mean that he that he painted two of them? Sure,
with probably something like this in mine, got it. Look
look what it's done for him. Put him on the map.
Anything he paints Now, I'll let him a fortune. And
I don't think you'll suffer particularly either, mister Gavin. It's
(20:43):
for you, Holland, well you'll get a lot more than
you thought for that paint of yours. Man, what a
fast sure? But you know something, hmmm. I just wonder
if lashaw Gree was in on this thing with him
from the beginning, the chah gri so help me. I
wouldn't put it beyond him. Sure, sure he was in
(21:10):
with Bardoe and probably collecting plenty from him. Anyhow, the
insurance company is not anything, but I hope they'll be
a lot more careful the next time they ensure a painting.
Speaker 1 (21:20):
Any so called original.
Speaker 3 (21:22):
Expense acount total including four hundred for le Chacqrie, the
hotel and the trip back to Hydfrid six hundred and
twenty dollars even yours truly, Johnny Dollar, Yours truly, Johnny
(22:06):
dollars starring Bob Bailey, originates in Hollywood and has written, produced,
and directed by Jack Johnstone. Heard in our cast were g.
Stanley Jones, Boris Lewis, Harry Bartel, Joseph Kerns, Bert Holland
and Byron Ka.
Speaker 1 (22:20):
Be sure to join us.
Speaker 3 (22:21):
Next week, same time and station, or another exciting story
of yours, truly, Johnny Dollar. Johnny Dollar has come to
(23:12):
you through the worldwide facilities of the United States Armed
Forces Radio and Television Service,
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Stuff You Should Know
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Follow now to get the latest episodes of Dateline NBC completely free, or subscribe to Dateline Premium for ad-free listening and exclusive bonus content: DatelinePremium.com
The Male Room with Dr. Jesse Mills
As Director of The Men’s Clinic at UCLA, Dr. Jesse Mills has spent his career helping men understand their bodies, their hormones, and their health. Now he’s bringing that expertise to The Male Room — a podcast where data-driven medicine meets common sense. Each episode separates fact from hype, science from snake oil, and gives men the tools to live longer, stronger, and happier lives. With candor, humor, and real-world experience from the exam room and the operating room, Dr. Mills breaks down the latest health headlines, dissects trends, and explains what actually works — and what doesn’t. Smart, straightforward, and entertaining, The Male Room is the show that helps men take charge of their health without the jargon.