Speaker 1: Welcome to the Great Detectives of Old Time Radio from
boy Seadaho. This is your host, Adam Graham. In a moment,
we're going to bring you this week's episode of The
Big Story. But first I do want to let you
know about our other podcast, and this week I am
promoting the Great Adventurers of Old Time Radio, bringing you
two great adventure stories from the Golden Age of radio.
We are currently playing Tarzan and this Saturday will begin
to play Counterspot. You can subscribe to the podcast at
Great Adventures dot info or just search for us wherever
you download your podcast from. But now, from July twenty first,
nineteen forty eight, here is The Big Story episode the Lottery.
Speaker 2: The Big Story.
Speaker 3: You're sure everything is all right, Tonny?
Speaker 4: Sure and sure.
Speaker 5: We phoned that reporter and told him there was a
story waiting for him here.
Speaker 6: So hey, what is it? There?
Speaker 7: He is?
Speaker 4: Now, that's the reporter.
Speaker 8: Waiting until he comes closer. Wait until he turns into
the walk. You don't want to miss him, miss him.
Speaker 5: When I get through unloading this ride, that report is
gonna look like a Swiss cheese.
Speaker 2: The Big Story here is America. It's sound and its fury,
its joy, and its sorrow, as faithfully reported by the
men and women of the great American newspapers. Atlanta, Georgia,
from the pages of the Atlantic Constitution. The authentic story
of a reporter who set out to clean up a
lottery by gambling with his life Tonight to Queler McCartney
of the Atlanta Constitution, goes the Pellmell Award for the
big story and now the story as it actually happened.
Keuyler McCartney, story as he lived it, Atlanta, Georgia.
Speaker 9: You are Keela McCartney, police reporter for the Atlanta Constitution.
Speaker 6: You're young, conscientious, and hot.
Speaker 9: You stand in your city editor's office, listening to his
dry voice briefing you on new assignment. You wish you
could dive head first into a glass of beer. When
the voice stops, you melt out of the office to
your own desk, your half hearted notes clinging damply to
your fingers.
Speaker 10: Hi, you mac hot enough for you.
Speaker 11: If one more guy asked if it's hot enough for me,
I'm gonna pop him one.
Speaker 12: Yeah, it's hot enough for me. It's hot enough for
a TOMUALI. Hey, what's the matter with you?
Speaker 3: Editor?
Speaker 11: Tasha a lousy assignment. Mac, He says, get this, Mac,
I want you to see what you can do about
cleaning up the lottery racket in town.
Speaker 12: Eighteen million dollars a year.
Speaker 11: Those racketers are making enough to buy plenty of Tommy
guns to bump off any reporter who's dope enough to
stick his nose into that set up? How do they
operate the thing? I lay a bet on the third, fourth,
and fifth digits of the daily bond total in the paper.
Pays off four hundred and fifty to one, but the
odds are a thousand to one against you. How do
you find out about a lottery anyhow? Place a bet
fella down the street from me. Joe Sampson, He gambles
a lot of it. Ask him he should be able
to make contact for you.
Speaker 10: Okay, what can I lose?
Speaker 11: Nothing but a buck?
Speaker 13: Well?
Speaker 12: Who knows you might even make a killing?
Speaker 1: Hey?
Speaker 7: Is anybody home?
Speaker 12: Oh?
Speaker 4: I'm not ti?
Speaker 10: Oh didn't see it?
Speaker 11: You're missus Samson.
Speaker 14: That's right.
Speaker 10: You picked a pretty rugged day for waiting, didn't you.
Speaker 7: I sure did had enough for you.
Speaker 12: Yeah it is.
Speaker 11: I'm looking for mister Sampson's end. Well, No, I wanted
to ask him about placing a lottery.
Speaker 7: Better get out of here.
Speaker 10: Wait a minute, you don't understand.
Speaker 7: I understand enough. You're a rider, aren't you.
Speaker 10: Well sure, I'm a reporter.
Speaker 7: A reporter. Yeah, Oh, I'm sorry. I thought you were
one of those lottery writers that comes to see Joe
all the time.
Speaker 10: What have you got against them?
Speaker 7: I wish they were all dead.
Speaker 10: Wait a minute, the lotteries against the law.
Speaker 12: Sure, but what harm can I do?
Speaker 7: You really want to know that?
Speaker 10: For sure?
Speaker 7: Come on up on the porch where it's cool. You
were glass a buttermilk, providing your head off anyhow, And
after that, I'd like to tell you a story.
Speaker 10: All right, all right, it's a deal.
Speaker 7: Maybe it's not much of a story, mister McCartney. It's
the kind of thing that probably happens to a lot
of people. The thing is, this time had happened to
Joe and me. We were married about a year then.
Speaker 11: When missus Samson, I got a hand it to you.
I married the best looking gal in the state and
the best cook in the world. Now that I am
good after sour as a banker's disposition, Oh.
Speaker 7: Say that reminds me. I put some money in our
bank today, our bank, the blue teapot on the kitchen counter.
I call it our bank.
Speaker 6: Oh, the first National Samson.
Speaker 7: I put in another three dollars, Joe.
Speaker 6: Saving so you can be independently wealthy.
Speaker 7: Sure you haven't forgotten, forgotten what the house out on
fifth Street, the white one with the blue shutters and
the peach tree in.
Speaker 10: The yard, or what about it?
Speaker 7: Oh, it's gonna be ours someday, that's what about it.
Just as soon as we can fill teapot with enough
three dollars to buy it.
Speaker 6: You're sure thinking slow motion, Genny.
Speaker 11: I'll figure out a way to make a pile of
dough fast, and we'll move into that house next year.
Speaker 7: Oh no, Joe, No, If we just save a little
bit each week, we'll have it soon enough. Oh it's
better that way, Joe, honest.
Speaker 11: Okay, honey, have it your way. You go ahead and
save the pennies and the teapot. But I'm going to
see if I can throw in the dollars. Hey, how
about another piece of that apple pie.
Speaker 7: Joe's always like that, mister McCartney. Fast. He can't wait
for things. Well, I like planting those flowers in the yard.
Joe was swell about digging up the dirt for me,
but he doesn't like the waiting for the flowers to
come up. Anyhow, Joe brought me the three dollars I
asked for from his checker, be paiday, and I'd go
put it in the blue teapot he got so as
I'd wait for him on the porch steps every Friday. Hi, Baby,
give it to me. Give to the three dollars for
the teapot.
Speaker 6: Look, honey, I haven't got.
Speaker 7: It, You haven't got it.
Speaker 12: But listen, Jeanie, did you ever hear the bug the lottery?
Speaker 10: You know?
Speaker 11: You bet on the numbers in the barn total each
day and if you win, they pay you four hundred
and fifty to one. While all we need is to
hit it right, just once, and we've got a down payment.
Speaker 7: On the house.
Speaker 10: June.
Speaker 7: No, no, don't gamble. Give me the money and let
me put it away in the teapot.
Speaker 11: Oh, come on, baby, be a sport. Just a few bucks,
that's all.
Speaker 6: What harm can it do?
Speaker 10: Jeannie?
Speaker 6: What are you doing in here?
Speaker 7: What are you doing?
Speaker 10: Joe?
Speaker 7: What do you want with that typot?
Speaker 6: Look, honey, I got a specially lucky feeling you.
Speaker 11: They see, I just want to borrow a couple of
bucks from the teapot for the bug. I'll put it
back tomorrow.
Speaker 6: Look, Jeannie, how about sparing me a few bucks?
Speaker 7: Huh the key pot, damn, Jill.
Speaker 11: Yeah, yeah, I mean from the housekeeping money. Oh, Jill,
I got a hunch today on number four one nine.
I figure all I have to do.
Speaker 6: Is lay ten bucks on.
Speaker 11: That and I can clean up and get back all
my losings in one hit.
Speaker 7: Jill, You've got to bring you a check home next week.
I can't pay the bills. You've got to stop gambling.
Speaker 6: How can I stop?
Speaker 11: I got to make up my losses, don't I? But
but there ain't no butts. I tell you, I got
to make no fast and there ain no faster wait.
Speaker 6: Than the bug. Oh look, Jeanie, don't be mad at me.
I got a feeling, Honey. I'm gonna be lucky tomorrow.
Speaker 7: I heard of people that couldn't stop drinking, mister McCartney,
men who kept on drinking even when it made them sick. Well,
that's how gambling is this, Jill. Now, something rotten, something
it can't get away from, even though it's like poison
any sick with it? Last night I sat across the
table in looking at it, watching him kind of sit
there and fall away in the little pieces, just looking
at him.
Speaker 6: What's the devil you're looking at you? Well, quit it?
Speaker 14: Sorry?
Speaker 6: Sorry, you always have to be sorry.
Speaker 7: Why don't you give it up? Joe?
Speaker 6: What are you talking about?
Speaker 7: The lottery? Give it up, Joe?
Speaker 6: Why don't you give up picking on it?
Speaker 7: I'm not kicking, Yes you are.
Speaker 6: I don't bet because I want to.
Speaker 11: I bet because I'd be a dope to stop now.
I've lost too much to quit now. When my numbers
going to come up?
Speaker 7: You know it won't.
Speaker 6: It's got to come up someday, doesn't it.
Speaker 12: When it does, we'll be rich.
Speaker 7: Rich. What do we want to be rich for? We
just want to save enough to put in our bank.
Speaker 11: Sure, lousy nickels and pennies to put in the banks
that we can buy a house.
Speaker 12: WIMMORREADI that's not true.
Speaker 7: You know it is. And we had lots of money
in the bank before before.
Speaker 11: What go ahead, say it before I robbed the bank
to gamble. That's what you were going to say, right, No,
before Joe rapped the bank before.
Speaker 6: Joe swiped them money. I'm just think I robbed your
lousy bank.
Speaker 12: That's all right, all right, I did.
Speaker 11: I robbed the lousy, a little broken down teapot. I
swiped the money and I left it empty, lousy little
teapot with a lousy little broken handled all empty.
Speaker 7: Look at it, all empty. And I don't care you hear.
Speaker 12: Me, Genie, I don't care.
Speaker 6: I don't care who about your lousy little teapot? Uh
huh m hm.
Speaker 10: Hm.
Speaker 15: Can't stop, Genie. It's like being drunk crazy every week
and I get my check. I say, this time, I'll
bring it home the genie. This time, I'll give it
all the genie. And that guy comes along with his lottery,
and I can't stop.
Speaker 7: What are we gonna do? Honey?
Speaker 16: I don't know, but Joe, I wish they were all dead,
so do I.
Speaker 9: You? Keela McCartney, feel a slow burning anger starts deepen
your guts and rips its way after the lump in
your throat, just suddenly ashamed because you can still hear
yourself saying carelessly, lottery, what har I'm gonna do?
Speaker 7: And now you know, can't anybody do anything to stop?
At mister McCartney.
Speaker 9: I don't know.
Speaker 11: I sure don't know what one guy with a typewriter
can do against thousands of guys with lottery sheets and
Tommy guns.
Speaker 12: But well I'm gonna try.
Speaker 2: We'll be back in just a moment with tonight's big story.
Speaker 17: This is Sy Harris returning you to your narrator and
the big story of Keeler McCartney as he lived it
and wrote it.
Speaker 10: You, Keela McCartney.
Speaker 9: I'm mad hot and mad hot because the late summer
Georgia's son has made a furnace of Atlanta's streets mad
because a lottery called the Bug is wrecking the lives
of Atlanta's people.
Speaker 10: The Bug.
Speaker 9: You've written stories about it, and you know it's an ugly,
crawling thing that takes the dimes and the dollars of
Atlanta's poor. So you take your temper and your thirst
into a bar well, you know, the workers for the
Bug congregate. You walk out of the burning sun into
the dimness and the coolness, and you say one beer,
and then you wait. You wait while the eyes along
the bar study you, and the eyes from the table
study you. You wait, and you drink your beer and
you feel the eyes on you and then Hi, Hello,
hot enough for you?
Speaker 10: You bet.
Speaker 4: You know I ain't seen you before.
Speaker 10: I'm no.
Speaker 4: None of the boys they ain't seen you before.
Speaker 10: Well, I'm no.
Speaker 5: Right m h worked with Cloyd? Uh huh south side,
that's right. Cloyde don't operate on the south side.
Speaker 10: He does.
Speaker 5: Now, what do you mean he started this morning? You
mean he's gonna muscle in on Daniels. Figure it out yourself. Wow,
that's good news. Glad to hear it. They called me tinny.
Haven't been sure.
Speaker 10: I'm read plays to meet you?
Speaker 4: Then two beers?
Speaker 6: Ready?
Speaker 5: The reason I cased your first off?
Speaker 4: I gotta be careful.
Speaker 5: Sure the newspapers are getting hap Sure this gume I
got me in a constitution?
Speaker 10: There is one prize, louse.
Speaker 5: Sure it's gonna wake up someone and then find themselves dead.
Speaker 10: Have another beer?
Speaker 4: Tiny, sure, pals?
Speaker 12: Sure I jamake God this week corected.
Speaker 5: Two thousand and seven and eighty four hours.
Speaker 4: You know something found? People are awful.
Speaker 11: Sunders, congratulations mac Tho. Stories are yours on the bug
are beginning to pay off. The cops picked up three
lottery bosses again yesterday.
Speaker 6: They're only the little guys.
Speaker 10: Pete.
Speaker 12: We have to get the big ones, the biggest one.
Speaker 10: Well go to it.
Speaker 12: Sure, proble is, I don't know who is.
Speaker 14: Work Pound?
Speaker 6: Suppose I do get take that one.
Speaker 5: I'm at this lawyer the boy signed and get a
charge buried for years. Great guy, the voice I.
Speaker 10: I never met a great guy never comes around here?
Does he?
Speaker 4: The boss?
Speaker 5: And a crumb joint like this, he'll be plenty, saying
Herbert as a gentleman.
Speaker 6: The word is to take it slow.
Speaker 3: Pound.
Speaker 5: What's up this lousy reporter, this McCartney and the Constitution?
He's found out? Dan, Herbert's the boss. Dan says, we
got watch it down. What my cop just come into
the bar ahead.
Speaker 10: In this way, Amen, A.
Speaker 12: Just happened to catch tighter use of the window break
for me. Look, drop off this accident. Report for me
at the station, will.
Speaker 10: You mac GATORI wife Smith, you know what it is.
Speaker 12: And I'm like too, thanks a lot, mac.
Speaker 4: Man.
Speaker 5: I mean that.
Speaker 10: I cos.
Speaker 5: His keel and mcctney over at the Constitution they call
him back too. That's it, he knows. They all know.
Speaker 9: A sudden, ugly silence falls over the bar, and all
those eyes turned towards you again, all those ugly chig
like eyes. You stand up, You put a hand into
your hip pocket, your back towards the door, slowly, slowly,
keeping a steady watch on Tiny in his pals. And
then you push open the bar door and.
Speaker 4: You're outside in the street.
Speaker 9: You start to run, take your hand out of your
hip pocket because you didn't have a gun anyway, you
just run.
Speaker 3: Just how much do you think this McCartney person knows
about us, Tony?
Speaker 5: Well, you know it is, mister Herbert. Some of the
boys ain't careful like me. Some of the boys get
a little liquored up, and they talk too much.
Speaker 3: In other words, Tiny, it might be advisable to liquidate
this reporter.
Speaker 5: Like you say, mister Helbert, liquidit.
Speaker 3: We could figure out some way to entice them to
the Yellow House. Do you think we could entice McCartney
to the Yellow House?
Speaker 5: Sure, I'll have Blaine call him with a phony story.
Just tell me when you want to, mister Helbert, Just
tell me when allo Samson leave me alone? Tiny, how
much you want to place on the back tonight, Joe.
Speaker 11: Cut it out, Tiny, please cut it out. I'm taking
my check.
Speaker 4: Home tonight, Jemmy. Sure, And how about that little house
you and the wife was planning.
Speaker 11: I thought you guys were going to be stopped. That
guy on the paper, that killer McCartney. He'll get you,
guys a whole bunch.
Speaker 10: Of hats at his secret show.
Speaker 4: McCartney's through.
Speaker 5: The boys at the Yellow House are going to take
care of him. Now, what'd you say? Fifteen bucks, Joe?
Speaker 6: All right?
Speaker 10: All right?
Speaker 11: Fifteen bucks a number four, one night, and I hope
I never see you again as long as I.
Speaker 5: Lit show Samson fifteen dollars and number four one minute.
Sure everything is all right, Tenney, Sure, I'm sure, mister
A glance telephone. McCartney told him there was some kind
of a story here, right, Hey, what is it? Just
turning the corner there, that's McCartney.
Speaker 10: Wait until he turns into the wall. You don't want
them to.
Speaker 4: Miss, yes, and I get through unloading it. Ride.
Speaker 5: That reporter is gonna look like a.
Speaker 8: Swiss cheese, I hope. So I'll wait, Dunny, wait until
he turns into the walk, just to look. A few steps, tiny,
just a couple of.
Speaker 7: More steps, carny, mister McCartney, Jeane, what are you doing here?
I just called your office and they told me where
you're going. And Joe just just told me what the
writer said to him. What writer the one called tiny?
Speaker 10: Tiny? What do he saying?
Speaker 7: He said, the boys in the yellow house will take
care of you in the yellow hose.
Speaker 12: Yeah?
Speaker 7: Do you know what he meant?
Speaker 10: Yellow house? Oh brings no bells?
Speaker 7: Oh?
Speaker 11: Well, thanks anyway, Gane, I'll go in here now and
cover this story, and maybe i'll check on the yellow
house business later.
Speaker 7: All right, Oh, but take care of yourself.
Speaker 12: Don't worry. I'll be.
Speaker 10: Jean.
Speaker 7: Yeah.
Speaker 10: Do you see the number on this house right here?
Speaker 8: Oh?
Speaker 7: Says two twenty four?
Speaker 11: In this dude, I just got an anonymous phone call
to cover a.
Speaker 10: Story at number two two four?
Speaker 7: What they could do?
Speaker 12: You see what I mean? Number two two four? He's
a yellow house.
Speaker 4: How can you sign that he beat it?
Speaker 12: Well, turney, that's the second time.
Speaker 2: You failed me.
Speaker 4: I mean, mister Hulbert.
Speaker 16: You.
Speaker 10: I found out it was you who talked too much
and started.
Speaker 3: All this difficulty, and now you've bungled an opportunity to
rectify your mistake. Tiny, much as I regret the necessity,
you are true.
Speaker 9: You Keila McCartney know who's behind this plot to erase you,
Dan Herbert, and you know that he'll get you too
unless you get him first.
Speaker 10: But how that's the question.
Speaker 11: How how can you put a guy down if nobody
will squeal on him? Pete, what's with this Dan Hilbert character?
He made a solid gold just about. He treats his
writer as well, gives them big percentages of the take,
protect them when they get in trouble. All more trouble
if it's another anonymous tip. Hang up, Mac, it's too
hot to.
Speaker 3: Go to a funeral.
Speaker 10: McCartney speaking.
Speaker 14: This the McCartney that's been writing them stories on the lottery.
Speaker 10: Yeah, who's this nobody?
Speaker 14: Look I used to be in the lottery business myself.
Speaker 12: See what business you're now giving tips to reporters. Oh,
I don't want to hear this, McCartney.
Speaker 5: A guy by the name of Dan her But has
seventy cases of whiskey stood in the garage over on
Melrose Avenue to see and he ain't got no permit for.
Speaker 14: Him to see.
Speaker 10: Yeah, I see guys.
Speaker 14: With no permits for starr and whiskey can get arrested.
I suppose you take it from Namack.
Speaker 11: Hey wait a minute, now, I get your voice tiny Hello, Hello,
tiny Hello tip Nope, hung up another chip from tiny
the writer I got mixed up with. Just recognize the voice.
You must have had a falling out with Herbert. You
just squeal on him. Some hot Herbert's got seventy cases
of whiskey and a garage on Melrose.
Speaker 10: The coin of phrase. Is that hot enough for you?
Speaker 9: It's hot enough for anyone, including the police. Dan Herbert
is arrested for storing whiskey without a permit. Then the
police begin their relentless questioning and finally secure the three
page confession, which wipes up what's left of the lottery
racket in Atlanta. And then one afternoon, you take a
stroll out to see your old friend the Sampsons.
Speaker 12: Hi, Jeanie, he's still at the weeding.
Speaker 7: Yeah place is a miss? Why somebody milk?
Speaker 10: I could be persuaded. Joe home?
Speaker 7: Oh not yet. He stopped by to get his paycheck.
I bought a new teapot today.
Speaker 12: Well here's its chief depositor.
Speaker 11: Now, Hi, Joe, I am not goodness see, oh baby
about to give it to me?
Speaker 7: Three dollars for the bank.
Speaker 10: Is that over?
Speaker 6: Two?
Speaker 7: Joe Samson?
Speaker 11: I'll take it easy honey, I saw these flowers downtown
and I thought they'd well kind of brighten up the
place where those ones you planted take their own sweet
time blooming.
Speaker 6: Oh Joe, you bigg And then well, I had.
Speaker 11: To stop and get mac here a couple of cigars
to say thanks, didn't I?
Speaker 2: In just a moment, we'll read you a telegram from
Keeler McCartney or the Atlanta Constitution with a final outcome
of Tonight's big story. Now we read you that telegram
from Keeler McCartney or the Atlanta Constitution.
Speaker 11: Previously unable to get any evidence against lottery boss and
Tonight's Big Story, arresting him on a liquor charge was
the only way legally hold him. Once in custody, he
was persuaded to confess that he employed twelve hundred people
in Atlanta's seven million dollar lottery ring. A fifteen count
indictment was secured against him.
Speaker 10: He was sentenced to six.
Speaker 11: Years on the chain gang at Tatnall State Prison in Readsville.
Speaker 10: My sincere appreciation for Tonight's Pellmell Award.
Speaker 2: Thank you, mister McCartney. The makers of Pallmell famous cigarettes
are proud to have named you the winner of the
Pall Mall five hundred dollars Award for notable service in
the field of Journalism.
Speaker 17: Listen again next week, same time, same station, when pell
Mell Famous Cigarettes will present another Big Story, A big
story from the front pages of the Los Angeles Herald
Express by line Pat Foley, A big story about a
meek little man with a mania for marriage and murder.
Speaker 2: The Big Story is produced by Bernard J. Popter, with
music by Vladi miss Lensky. The night's program was written
by Gail Ingram. Your narrator was Bob Sloan and George
Petrie played the part of Keila McCartney. In order to
protect the names of people actually involved in tonight's authentic
big Story, the names of all characters and the dramatization
were changed, with the exception of the reporter, mister McCartney.
This is Ernest Chappell speaking for the makers of Palnel
Famous Cigarettes.
Speaker 12: This is NBC, the National Broadcasting Company.
Speaker 1: Welcome back. Well stored along with mister Petree in this
week's episode was James van Dock, Ted Decortia, James Monks,
Mercedes McCambridge and John Sylvester and actually, the majority of
the cast has started in at least one great detective series.
George Petrie, of course as Commissioner Bill Mason on Call
the Police, as John J. Malone in The Amazing Mister Malone,
Ted Decortia as Mike Hammer, Mercedes McCambridge as Martha Ellis
Bryant in Defense Attorney, and James Monks as both Mister
I Amoto and the Avenger. The Stories behind the Big
Story website essentially confirms the truth of the basic story
by mister McCartney, and I went ahead and took a
look through newspapers dot com at some of the original
stories in the Atlanta Journal Constitution, and according to one
of McCartney's later stories, he did an article in nineteen
forty five which was kind of a victory lap article
in nineteen forty five pointing out that the racket had
dried up with the conviction of the leaders and a
lot of small fries. According to McCartney, the Bugget lottery
had involved up to in like its peak years, fifty
million dollars, which for a single metropolitan area. And keep
in mind that the racket had been in operation for
about twenty years, so it's hard to say, you know,
what would the fifty million dollars have been in today's
money without knowing the precise year, it was fifty million dollars,
but Fulton County during this period had somewhere between two
hundred and fifty thousand and four hundred thousand people, and
that would be in the hundreds of millions of dollars
in today's money. So this was a major racket that
the newspapers were really able to build towards, an effort
that ultimately dismantled them. Now, The Stories behind the Big
Story website notes that McCartney continued to work at the
paper until the nineteen seventies and passed away in nineteen
ninety four. And there is a box of his correspondence
at Emory University. And if anyone is curious whether there's
any correspondence about the Big Story, who can go to
Emory University. You have to give about a two day
advance notice and fall all their policies to view the collection.
The other thing that website notes is that the script
was written by Gail Ingram. She and her husband were
both radio writers, and her husband took this script and
rewrote it. In the casey crime photographer universe as the
story unlucky numbers in terms of plot. I had a
couple of thoughts on the episode. First of all, this
is the top of story that could not happen in
the information age, because if a criminal organization was mad
at a reporter, then most people of importance would know
exactly what he looked like. Though on this topic, I
think the most obviously fictionalized part of this is tiny.
Events in this story were much more recent than many
other episodes we've heard, and if you lightly fictionalized aspects
of how he got his information, it would probably have
put his informants at risk. So we just have one
guy who couldn't shut up and had just to tell
everybody about everything. Let me go ahead and tell this
one random gambler about our planned murder. Though I guess
in terms of having a big mouth, that one policeman
who ran in and blew McCartney's cover he deserves an entry,
although I think Tony's guess was a bit of a leap.
I mean, Mac was a very popular nickname for Scottish people,
and do you know how many people of Scottish heritage
are in the state of Georgia. But the association with
the police. Maybe the yellow house scene was one of
those things that they tried to make dramatic for radio,
but to me it just didn't work. Martney gets the
tip from Genie and then he sees the house and
McCartney says, Jean, do you see the number on this
house right here? She says it says to twenty four
on the stoop and he says, I just got an
anonymous phone call to cover a story at number two
two four, And then Jeane says, but what has that? Oh,
and with a guess, see what I mean? Two twenty
four is a yellow house. Now, in theory, this is
supposed to reveal to the audience that he stumbled on
to the yellow house and almost went into it. It's
a yellow house. But the problem is that we already
knew that that was already established where Dan Holbert and
Tony were talking. And if I heard that somebody was
going to be taken care of at a yellow house,
and I saw the walking towards a yellow house, I
would understand the implication of that. So that one part
was a bit awkward. Well, listener comments and feedback now,
and we have a couple of comments. We start with
Harrison over on Spotify writing regarding the episode Pillars of Society.
I'm glad I wasn't the only one who thought the
hoops he had to jump through was a bit extreme.
Thanks Harrison. And it should be said that a lot
of people were quite dissatisfied in real life with the
pace at which the case was addressed. I read through
letters to the editor where people were wondering, Okay, so
it's been since April of thirty seven that the governor's
chief advisor has recommended a pardon. Why is this taking
so long? And Governor Davy was an incumbentate administration had
a lot of problems. He got ousted in the primary
by a reform candidate. I don't think that the parting
issue was at the forefront, but there was a great
sense of idea that Governor's integrity was in question and
it would be a risk to his Democratic Party if
he were to be nominated. Although the reform candidate who
defeated Governor Davy also lost in the fall. Mechanics sixty
six rights seems like a young thief would start with
a candy store and progress to grand theft auto when
older not the other way around. Well, some people have
to be contrary. And then over on YouTube, regarding the
episode Manhunt in Manhattan, Betsy writes, good episode. Thank you.
The algorithm is making it harder to find you, but
I persevere.
Speaker 10: Well.
Speaker 1: I appreciate it, Betsy, and honestly, YouTube has been doing
some things. When I look at the stats, the click
through rates on my episodes posted on YouTube are about
the same as they were before. The problem is that
YouTube isn't serving them up to as many listeners, and
the algorithm often does strange things for inexplicable reasons, which
is why I always encourage people listening on YouTube to
like the video, subscribe to the channel, mark the notification bell,
because those are the sort of things that help our
content to be seen more on YouTube, and in the
case of marking the notification bell, it also ensures you
get notified when we drop a new episode. Now it's
time to thank our Patreon supporter of the day, and
I want to thank Splanator, Patreon supporter since September twenty twenty,
currently supporting the podcast at the Shawmus level of four
dollars or more per month. Thanks so much for your support.
Splanator and that will do it for today. If you're
enjoying the podcast, please follow us using your favorite podcast software,
and be sure to rate and review the podcast wherever
you download it from. We'll be back next Tuesday with
another episode of the Big Story, but join us back
here tomorrow for Broadways my beat.
Speaker 10: Where this lady dan is? She wanders in off the street.
Say she's looking for help, she's the police.
Speaker 7: Please, I want to go home.
Speaker 4: Take me home, someone, don't be frightened?
Speaker 7: Will I hate it? Dougly and dirty? My love for
a woman?
Speaker 13: When she all I wanted was to make friends. I
bought new things, paid their way. Why I shouldn't have
to pay the things back? Homeless?
Speaker 4: Where is your home?
Speaker 13: Miss They say that missus Pryce, go Elizabeth. She's a
deep one, more than meets the eye. You could light
marsh Hires with.
Speaker 10: Where do they say that? Missus? Price?
Speaker 12: In Vermont, in the village.
Speaker 13: When I walk down main Street to shop for in provisions,
I hear their whispers so loud.
Speaker 10: You'll be all right, lady.
Speaker 5: You are now with Danny Clover's hands and for an
out of town a loss unhappy?
Speaker 10: Please?
Speaker 11: Please? That's tom Phill That my fir quickly, yours price?
Speaker 4: Give me hold on so tight? That's please?
Speaker 7: Yes, thank you?
Speaker 4: What if she or anything?
Speaker 10: Give it to a g? Oh sure?
Speaker 12: Shall we missus price?
Speaker 10: Kif cool?
Speaker 6: Good books?
Speaker 16: Appair?
Speaker 4: Don't look like that.
Speaker 12: There's nothing to be afraid of.
Speaker 7: They have nofer these attacks.
Speaker 11: They come, oh, missus price. Then she sends it, Shall
I go out with doctor Sisky?
Speaker 12: Shall I? Well? Why what can I do?
Speaker 7: Danny?
Speaker 11: Tell me what?
Speaker 10: Nothing?
Speaker 4: You know nothing?
Speaker 1: I hope you'll be with us then in the meantime,
send your comments to Box thirteen at Greatdetectives dot net,
follow us on Twitter at Radio Detectives, and check us
out on Instagram, Instagram, dot com, slash Great Detectives from Boise, Idaho.
This is your host, Adam Grant, Shine and Off.