 I'm the Comic Weekly Man, the Jolly Comic Weekly Man. And I'm here to read the funnies to you happy boys and honeys. Yes, boys and girls, it's Comic Weekly Time. And here I come right into your house to bring a little fun and happiness. Right out of the pages, I've popped the Comic Weekly straight into your living room. Your friend, the Comic Weekly Man, the Jolly Comic Weekly Man. Well, little Miss Honey, how are you today? Oh, I feel very happy today. Why? Because I'm going to a birthday party today. You are? Who's is it? My girlfriend, Alice Theresa. But we call her Terry. Well, and today's the day to wish anybody whose name is Terry and especially your friend Terry a happy birthday. Of course, you'll just love that. And now, will you read her the funnies for a birthday present? Pock the Comic Weekly? Very well, I'll read that in just a moment. But before I do, let's listen to this nice man. Now, here we go with Pock the Comic Weekly. And on page one, Hop along Cassidy. Magic words for the music, please. Very well, my lady. Six guns blazing as he thunders along. Give us music for Hop along. Slote and a gang of outlaws had tried to buy Don Ramon's ranch, the Madeira Hacienda, when they had forced it into being put up for sale. But Hoppy appeared in the nick of time and bought the ranch to save it for Don Ramon. Don Ramon thinks Hoppy has bought it for himself. Today is Hoppy, lucky in California, come to the ranch. The boy, Felipe, whom Hoppy had rescued, says to his father, I cannot see, Father, but there are others here. Don Ramon replies, see, the one they call Lucky has returned with money. While Senor Cassidy and his bandidos could not steal, they buy. We no longer own the Madeira Hacienda, my son. First picture, second row, Hoppy stops before Don Ramon and says, from now on, you're taking orders from me, Don Ramon, until we learn who wants this property and why. After that, the estate is yours. But how can this be? You hold illegal bill of sale. Hoppy hands Don Ramon the bill of sale saying, suppose you hold it. Felipe says joyfully. You see, Father, we have not lost the Madeira Hacienda. Senor Cassidy and his amigos are not the bandidos who attack us. They enter the house in the big picture next row. Don Ramon says, oh, I am guilty of an injustice. How can I make up men, Senor? Hoppy replies, by hiding that hunk of paper in a safe place. So first picture next row, Don Ramon goes toward a safe hidden in the wall behind a picture saying, I will place the bill of sale with the original Spanish land grant title in the safe. Hoppy exclaims, hold it. Then he turns toward a huge pottery jar standing on the floor and kicks it over. It rolls down the steps into the next room and breaks. The outlaw sloat who is hiding in a designe lying on the floor. Sloat leaps to his feet and runs from the house. First picture, bottom row. California pulls his gun. Hoppy says, hold it, man. Then turns to one of the servants, last picture, saying, Chico, stay here with Felipe. The rest of us will take our horses. Sloat's going to lead us to his boss. Full idea, letting Sloat escape. And then when Hoppy trails Sloat, they will find out who the real boss is, won't they? Well, I hope so. And then next week, Hoppy will round up everybody and take them to the jail and say, Sheriff, here's your man. Well, let's hope that that's the way it'll work out. Well, now? Now, let's turn over the page and see if Prince Valiant is there. Over the page we go. And there he is on page three. Oh, and I'm anxious to read this today because Prince Valiant is on his way over the high mountains now with the guide from that monastery leading them. Yes. At last, Prince Valiant is continuing his journey to Rome. And today, he's on his way, taking a pass through the Alps. Those are mountains. And they're heading up, up, up to the highest peaks. Now let's read and see how they get along. So here we go with Prince Valiant and the days of King Arthur. Hecate, brecate, Grimulcan, and Quince. Music romantic for a fair, fair prince. Valiant's companions are put on warm clothes as they start up toward the mountain peaks, where the air there is extremely cold. Looking back, they can see the valley of the East air winding into the distance. Above them, the eternal snows. Upward, they struggle. Last picture, top row, man and beast climb, panting in the thin air. A misty sun burns in the sky. First picture, next row, the guide named Paul says, there will be a change in the weather. I hope it comes quickly, for already the sun's heat has loosened the snow. Occasionally, they hear the roar of a distant avalanche. And then, Arff looks upward and screams, look out! The last picture, the row high up on the mountainside. They see the avalanche start. They seek what shelter they can find. The right horror thunders downward, bailing everything in swirling snow. First picture, bottom row, when the roar ceases, the air clears. And there, right across the pass, is a huge wall of snow through which their mounts cannot flounder. Their road is blocked. Then last picture, the daylight fades. And with the darkness comes a bitter wind. The stars glitter like frost. The stars glitter like frost crystals. And Paul says, if we survive the night, the snow may freeze and bear a weight by morning. Through that snow, I had to come down and block their road. Yes, but it's a good thing they weren't there when the snow came down, or they'd have been buried by it. Well, I hope it gets cold enough to freeze the snow so they can walk across it like the guide said. Next week, we'll find out about that. I'm afraid Prince Val and his friends are going to spend a cold night in the mountains. But now, let's turn over the page and see what's there. All right, favorite. Very well then, let's read your favorite favorites. Say the magic words with me. Squeegeum, squeegeum, squeegee, chicka-chack. Let's have music to fit a quack-quack. Donald is having tough luck. He's tried to put a radio on the handlebars of his bicycle. But the handlebars broke. Then Donald has a bright idea. He takes the horns of a bull, which he had mounted on the wall, and ties them to the bicycle to use them for handlebars. Then he ties the radio to the horn's last picture top row. And there stands a bicycle with the most unusual build-on radio that you ever saw. And Donald says, oh, boy, it's not a biking town with handlebars like that. It's a longer radio. First picture bottom row, Donald and Dewey on the bicycle are out for a ride in the country. Dewey looks at the radio and says, we're turning on. I can hardly wait. Donald turns on the radio and gets a program where a man is imitating animals. And the man says, oh, the first animal limitation will be an angry bull. Donald turns to Dewey saying, pretty good reception, huh? Dewey suddenly looks ahead and says, wow, put on the brakes. Donald looks around and sees a real bull charging down them. Suddenly, there is a last picture. Hours later, we see Donald and Dewey sitting in a tree. Night has fallen, and the bull with the radio stuck between his horns is standing under the tree waiting for Donald to come down. The radio is playing, and the bull snorts. And Donald then says, yeah, yourself. The more limited you're on the radio, the better. Poor Donald's invention didn't work out so well. And the music's so sweet, and Donald looks so sour. Well, now should we read Blondie and Dagwood? Oh, yes, please. I just love Dagwood and Blondie. And here they are on the first page of the second section of Puck the Comic Weekly. Very well, here we go with Dagwood and Blondie. Ramaphoo, Ramapham, Zim, Zim, Zambi, conjugal music for Dagwood and Blondie. Blondie is going out shopping, and she calls back to Dagwood, who is lying on the Davenport. Dagwood, when you remember to put the leg of lamb in the oven in a half hour. And Dagwood rolls over and falls sound asleep. Blondie looks at him and says to Cookie. Oh, dear, I'm worried. And then she disappears. Last picture top row, the doorbell rings, waking Dagwood up. What's that? He answers the door for his picture next row. And a ragged old tramp greets him. Could you spare a hungry man to dine for a cup of coffee? Dagwood replies cheerfully. Well, I'll do better than that. Come in. The trap steps in. Dagwood goes to his coat, takes out a bill, and hands it to the tramp, saying, no, if you hadn't awakened me, I would have forgotten the rose. Here's the whole dollar. When the trap sees the dollar bill, his eyes pop wide open. And he dashes down the road. Dagwood goes to the kitchen. And last picture the row. He sees the bare table and exclaims, great Scott, the roast is gone. Both the trap must have swept it. The end. First picture next row, Dagwood is at the butcher shop. He give me another leg of lamb, just like the one my wife bought this morning. The butcher replies, that was very expensive. Next picture, Dagwood is at home, putting the roast in the oven. He says, there's still time to roast it before Blondie gets home. She must never find out about this. An hour later, last picture the row, Dagwood is saying to Daisy his dog, the lamb will be perfect. I've faced it a hundred times. An hour later, first picture bottom row, Dagwood is taking the lamb roast out of the oven. Just then, the doorbell rings. Dagwood says, oh, there's Blondie. I'll carry this to the door and surprise her with it. So he goes to the door carrying the lamb roast. He can hardly wait to see the look of surprise on Blondie's face when she sees what he's done for her. He opens the door. And there stands Blondie holding a beautiful lamb roast. Dagwood looks at her roast. Blondie looks at Dagwood's roast. And last picture, Dagwood collapses in the chair. And Blondie exclaims, I was afraid you'd forget it. So I took it next door to Mrs. Woodley and had her roast it in her oven. And as Dagwood sits in the chair, a tear rolls down his cheek. And he hears again what the butcher had said to him when he bought the roast. Dagwood's very expensive. Oh, for Dagwood. Has Blondie double-crossed him? Well, she didn't mean to double-cross him. Oh, but she certainly didn't trust him, did she? Well, how can you trust a man to take care of a roast? They always forget it. And if they don't forget it, they usually burn it. All right, we won't read Roy Rogers. Oh, yes, read Roy Rogers, please. Why? Because a new adventure is beginning. Very well, then I'll read him in just a moment. But first, here's that nice man again with something interesting to say. And with Puck the Comic Weekly on the first page of the second section. And here's Roy Rogers, king of the cowboys. Magic words for the music, please. Very well, my lady. Ah, yip-pai-oh. Now here we go with Roy and Trigger. Ah, yip-pai-oh. Friend, doleful Hawkins to the Odowed Ranch. There's to be a cattle driver with the mountains, which are very dangerous. And doleful has shown Roy Blackjack a remarkable steer. Doleful has told Roy that Blackjack can lead the cattle across the mountain trail better than a human being. As they're inside the house talking to Wildwood Odowed, the girl who owns the steer, they heard a commotion out in the corral. They run outside and see a man on horseback who has last sued the steer and is trying to gallop off with it. Doleful tells Wildwood to shoot the stranger. But Roy says, no, no. Careful, Wildwood. We want him alive to answer questions. Wildwood takes careful aim as Roy runs for his horse, third picture top row. There's a quick shot. And the rope the stranger is dragging the steer by snaps. The outlaw exclaims, hey, somebody shot the rope out of my hand. I'm getting out of here. Last picture Roy tears after the outlaw saying, let's go, Trigger. He's making a break for it without Blackjack. Quickly, Trigger overtakes the outlaw. And first picture bottom row, Roy leaps at him and pulls him out of the saddle. The two of them fall to the ground. A moment later, Wildwood and Doleful run up to Roy, who is holding the stranger down. Doleful asks, who is he, Roy? Why ain't he trying to steer, oh, Wildwood's lead steer? The outlaw snarls. I ain't talking, Doleful Hawkins. Get off me, Rogers. Roy says, hey, he knows our names. Maybe the sheriff can make him talk. Rustlin's a hangin' crime. Roy ties the outlaw's hands together. Doleful says, meet us in Cedar Valley later, Roy. Our herd's gathered there for the trail drive. Hope you can make it all right. Roy says, quit worrying, Doleful, and have that herd ready to move. Last picture, Roy is well on his way to town. The outlaw riding ahead of him with his hands bound together. The outlaw is smoking a cigar, which has never dropped out of his mouth, even during the fight. Roy says, stranger, I have a hunch you don't want that herd to reach raw hide to replace the stock lost in the storm up there. Why? The outlaw snarls. I told you, I ain't talking, Rogers. And then he says to himself, and I won't have to if there's any fire left in my stogie. I think that's what he's going to try. Oh, my, and his back has turned to Roy, and Roy won't see it. Yes, if that stranger gets away, there may be real trouble. Oh, I can't wait till next week to find out. I'm afraid you'll have to. Now let's go over the page and see who's there. All right. Oh, look, Flash Gordon. And this is really exciting because Flash is on his way to the moon. Yes, he's going to investigate the falling meteors. Those are falling stars which have been falling toward Earth regularly. And Professor Bright thinks someone's making them fall on purpose. Yes, so now let's read and see what new thing happens today. Here we go with Flash Gordon. Rigger, Rigger, Doon Doon, Sasuke, Matash. Let's have music for heroic flash. Flash's rocket is nearing the moon. It coasts tail-first as it falls toward the moon, and then suddenly it's brushed by a meteor. Meteor, one of the flaming fragments which have been hurtling through the Earth daily intervals from deep inside a moon crater. Flash sees the spot from which the meteor came and says, that crater's our target. Facile straps for landing. He fires the break rockets to kill their speed before touching the moon's rocky, airless surface. The rocket slowly settles down. And last picture top roll, it's exhaust melts a platform on the moon's jagged surface, and the rocket settles to the ground. Play Flash, Dale, and Professor Bright put on their space suits with glass domes over their heads so they can breathe the artificial air supplied to them by their space suits. Then they climb out of the airlock down a long rope ladder and set foot on the moon. There was only a slight gravity pull. The air is so light, they bounce like rubber balls as they walk across the crater's pumice floor. They communicate with each other by phones connected to the inside of their glass helmets. Professor Bright points to them as they bounce along. First picture bottom roll. Atomic blasts below the moon's crust must be shooting out the meteors. Nothing can live here with burning days, freezing nights, no air or water. But living, intelligent, sinister creatures are watching them as Dale lags behind, admiring the moon's weird beauty. A beatleman springs from his underground lair and seizes her. Yes, it's as big as a man. But Flash sees the beatleman, has got Dale, maybe he'll shoot at death. Yes, but there must be lots more of them. Oh, now Flash is really in a dangerous spot. I should say so. And I'm anxious to see what'll happen next week. So much. Dick's adventures. And last week, Dick woke up at the end of an exciting adventure. I wonder what new dream he'll have today. Well, let's read right now and find out. Say the magic words with me. Rigiddy-pack-ca-zack-ca-zick. Let's have music for adventurous Dick. It's bedtime. And Dick has been reading a book about John Paul Jones. As he settles down to bed, he says, story I was reading about John Paul's Jones seems surreal. It almost made me feel as if, oh, gosh, I'm sleepy. The centuries go rolling back to 1779. And suddenly Dick is sitting up startled in a narrow bunk aboard an American continental manor war. An officer is roughly shaking them awake. Dick cries, hey, where am I? The officer answers, you're aboard the Bonhami Richard. John Paul Jones in command. Skipper wants all hands on deck. We've just sighted a brick with his convoy. Last picture of the row, Dick is on deck beside Captain John Paul Jones. A cold dawn is breaking. Off in the distance, Dick makes out a flotilla of British merchantmen guarded by several heavily armed menor war. John Paul Jones is saying, the big one is a seraphis. She's stronger than we are. First picture next row, even as Dick watches, the frightened merchantman laden with supplies for the British troops in a madled America, turn and scurry back to port. But the seraphis piles on sail and races straight for the Yankee. John Paul Jones roars, what is it? As the sailors run to take their stations, the British ship closes in on them. And in the big picture in the middle of the page, at point blank range, the Yankee Bonhami Richard and the British seraphis blast out with broadside. The British are slowly beginning to tell on the Yankee ship. First picture, bottom roll, the Bonhami Richard's main mass crashes, shot through by a shell from the British. The middle of the battle, the British captain yells, John Paul Jones roars back, strike my hand to fight. And Dick in the heat of the battle shouts, and he means it. Last picture with incredible daring, John Paul Jones is swinging his sinking ship around to lay it square alongside the enemy for a hand-to-hand fight to the finish. Yes, they do, don't they? What's John Paul Jones going to do? He's going to tie his ship to the English ship so the English can't get away. And then the American men are going to board the English ship and they'll have a hand-to-hand fight. Just like on land? Yes, just like on land. Oh, isn't that great? Oh, it certainly is. And if you'll be here next week, we'll find out what happened. Oh, I will. Good. Now what? Oh, here's Rusty Raleigh at the bottom of the page. And you remember that man Smith who stole the plants in the factory? You remember he hurried back to the trailer after the dinner at the farmhouse? Yes, and he's going through Rusty's suitcase trying to find the picture where he had copied the plants. The picture that Rusty bought and Rusty and Tex run their way back, too. And I hope they give back in time to catch him. Yes, now let's read and see if they do. So here we go with Rusty Raleigh. Gallop and run until the road is dusty. Give us music for his horse and Rusty. Rusty and Tex approach the van parked by the side of the road. They hear Flip growling. Rusty exclaims, hey, Flip doesn't like that man Smithy, but I never heard him growl at him before. Tex says, personally, I agree with Flip. Don't like him too much, Michelle. Well, come on, Rusty. He must be messing around with something that ain't his business. Now, keep off to one side and be very quiet. I'll go first. I wouldn't trust that homebrew not to get ugly there to monitor. Quickly, Rusty and Tex slip up to the van. Tex slips inside and sees Smithy on the floor in front of Rusty's open suitcase with a picture in his hand. Tex says, well now, mister, this don't seem exactly neighborly going through other folks' belongings. Smithy exclaims, okay, so you caught me. Well, now that it's come out in the open, I'll come clean. All I was looking for was this painting of a horse. You see, I knew you had it. It was sold to that second hand dealer by mistake and well, he told me you bought it. We're suffering on toads, mister. You didn't have to steal it. First picture about him rose, Smithy replies, well, I didn't intend to steal it exactly. I meant to leave a note with some money. Rusty says, well, golly, I only paid half a dollar for it. And now look, mister, this whole deal don't add up. You could have asked Rusty to sell it to you in the very beginning. Smithy says, well, okay, how about 10 bucks, Rusty? That's 9.50, pure profit. Now, now, just a minute, just a minute. I said you could have offered to buy it, but your actions make it look pretty valuable. And Tex turns to go out of the van saying, and we have only your word that the picture was yours and sold by mistake. Smith says, now listen, I made a fair offer. I don't intend to waste any more time. I want that picture. So Rusty explains last picture. Look out, Tex, he's got your shotgun. Yes. But this is dangerous. I hope he doesn't shoot Tex. This is something I didn't expect would happen. No, I didn't either. I thought surely that Tex would catch him and knock him down and tie him up and then turn him over to the police. But now he's got the gun, and Tex and Rusty are in his mercy. Well, don't be too worried. I'm sure something will turn up to give Tex and Rusty the upper hand. Now, that's all the time I have, but before I go, here's that fellow with some more interesting information. Miss Honey and all your boys and girls, I've got to go now. All right, Mr. Comic Weekly Man, but I'll be waiting for you next week. OK, that's a date, and a date with all your boys and girls. Be sure to meet me with our little friend Miss Honey next week when I read Puck the Comic Weekly. For I'm the Comic Weekly Man, the jolly Comic Weekly Man. I'll be back to read the funnies to you happy boys and honeys. Don't forget, boys and girls, see you all next week. Your friend, the Comic Weekly Man, the jolly Comic Weekly Man.