 Personal notice, dangers my stock and trade. If the job's too tough for you to handle, you got a job for me, George Valentine. Write full details. Well, what do you know? It's time for another visit with Valentine. George Valentine, that is. Now, he's the fellow who rents space in the personal columns of your paper, advertising the fact that when you bump into a problem a size too large, don't start taking brave pills. Let George do it. That's what Casey Foster did. He had a problem that was a beaut. You know what it was? He had a million bucks that he wanted to give away and couldn't find a taker. Now, I bet you're saying that that's not possible. But it is. And if the maestro will give me a downbeat, I'll have Mr. Foster read you his letter to George. Dear Mr. Valentine, my name is Casey Foster and I have a very simple problem for you. I have a million dollars. I want to spend my million dollars. I practically want to give it to some people. But Mr. Valentine, they won't take it. They don't want it. So it seems to me there must be something rather wrong with those people, don't you think? You see, Mr. Valentine, this is where the track starts. The junction north of the Chula. Then, from there south, through Elmo Junction to Chula City. Then, down by the Davenport here, to the link with the Sonora National... Wait a minute, wait a minute, please. You mean you've laid out these model trains like a real road? That's what I said. The Desert Central. I've never heard of it. I'm not surprised. It's slightly smaller than the Union Pacific. Oh, but you will hear of it. You will. I have great plans for it. Mr. Valentine, that's what I want to buy. The real Desert Central. Oh, so you slowly begin to make sense, huh? Only buying something is a little different from giving your money away, isn't it? No, no, that's the strange part. It's not so different. You see, I discovered that the asking price for the railroad, lock, stock and barrel, is a little over 900,000. That's been my ambition, Mr. Valentine. All my life, to own a railroad. Think of it all mine. From round the house to... Hold it, please. What happened, Mr. Foster? You try to buy this Desert Central or whatever it is and they turn you down, is that it? I offered a million, way over the asking price. And it's supposed to be for sale, I know that. But all I got from them was a sort of a brush off. What do you mean? Well, here. Read that. Mm-hmm. Yeah. I see what you mean. Well, I double talk, huh? Who's this man, Sir Tuck? I don't know. He signed the letter. That's all. His office is in Chula City. He's apparently in charge. Maybe there are reasons why they don't want to sell or maybe you didn't make it clear in your letter that you wanted... I wrote again. And this time they haven't even answered. No, no. Instead, they hired a private detective. They did what? Yes, now I'm being watched. As though it were a crime to have a million dollars to interfere prior to their little operation. Well, let me tell you something, Mr. Valentine. I'm driving down there to see those people in person. Tonight, you are going to follow me down. I haven't the slightest idea what's going on but I mean to find out. Okay, I don't blame you. And whether they like it or not, we are going to buy that road. Do you understand? All my life I've wanted to own a railroad. This is my chance. And you are going with me to see that no one stops me. Say, did you ever hear anyone so determined about something as old man Foster is about spending his million dollars? I hope it's a good investment. Just like I hope you'll give a listen to this bit of advice. Well, let's get back and see how Mr. Foster is doing. So far, so good, I guess, because there is George and Brooksy following his car at full speed. George, are you getting sleepy? No, I'm all right. Foster must drive at a pretty good clip, though. Oh, well, he left half hour before we did. Yeah, well, go on back to sleep, Angel. Nothing but cactus in these parts. Do you want me to drive for a while? No. We won't be there until long after midnight. So you might as well get some sleep. George! Take it easy, it's all right. Well, it's Foster. What? Yeah, they are on the road. Valentine! Valentine, is that you? Yeah. What's the matter? Do you have a flat tire or something? No, no, there's nothing wrong. No, except you almost got run over, that's all. Well, I want to show you something. The most beautiful view I've ever seen. Get out, Miss Brooks. Come over here. You? View of what? The black shadow or some black sand in the middle of a black desert? Oh, they're going coyote hunting, huh? Over there, in the moonlight. There, by the old abandoned siding. See? A freight train. That's the number two engine. Makes the night run. But it's a mountain with 40- A freight train with six-box cars. Parked in the middle of the desert. Business must be good. Come on, it's cold out here and we still got some driving to do. But George, why? Huh? Why would they stop like that right out in the middle of nowhere? I don't know, that's the iceberg. I don't know either. Okay, let's find out. Hey! Hey you! Up there! Who's that? Who's the engineer? Whoa, would you look what climbed out of the prairie dog holes? A beautiful dame. You're the engineer of this streamliner? Or were you riding the rods, baby? ought to be careful doing that, sister. Rattlesnakes will bite you. Look, smart boy. Mr. you want lefty. Go find him. Me? I'm just the fireman, breakman, train guard, orchestra and window washer. Substitute at that. It's a real big time railroad. Come on. You want him, I'll show you. We're back here someplace. In fact, look at a hot box. Hot box? There's your mystery. One of the back cars here, I guess. I should worry. I'm working on the middle part of this course. Listen, baby, I'll play it for you. Oh, you don't have to. Oh, no, don't be like that. My name's Paolo. And the only reason anybody ever hires me is because I make such beautiful music. Listen. Oh brother, this is a real fine railroad you want to buy, Mr. Foster. Oh yeah, maybe it isn't so efficient. Bye! Sleeping again, huh, Psy? Here, meet Psy Ebrie, folks, Lord of the Caboos. Conductor, straw boss, meanest man, this Psy... What's up, Paolo? What do we stop for? Who are these people? Oh, excuse me, lady. Where did I get my shoes on? Oh, don't let us bother your friend. See here, you run this train. I'd like to meet you. My name is Foster. I'm going to buy this line. You're what? Yes, fire to you. He's nuts. Come in. Come in. I've been asleep since Elmo Junction. Maybe I didn't hear you right. Excuse the appearance of things, lady. That's all right. Here, coffee's nice and hot, calico. Holy smoke, mister, you mean it? You going to buy this thing? Yes, that's my intention. You see? I hope you understand about a man falling asleep. Train stops so many times, you get so you don't notice. Lefty, you can take care of anything I can. Add a hotbox on that 418 car. Blasted old equipment. How can they expect me to maintain a schedule? Here, have some cream, lady. Best coffee this side of rock hour. Just a cool little thing. But things would be different with some new management, I'm telling you. Foster, that's what you said, wasn't it? New blood. Well, well. Here, sit down, Mr. Foster. Wait a minute, all of you. If we walk from the engine to the caboose here, where's the engineer? Well, Paolo here says he's working on a hotbox. Holy smoke, look what time it is. We must have walked past that car 418. Where was he? There's two sides to a train, mister. Show me. George. Just lying there, out cold. Lefty, get out of the way, mister. He looks dead in the door. He's all right, old time. I'll take it easy. I'm fine, just great. What happened? For heaven's sake, what happened? Lefty, can you hear me? Oh, stop it. I'm all right. And away from you. There's blood on your head, friend. Yeah. How'd it get there? Don't you know? No, a hotbox. You come back here. You trip, that's what you did. Here, see? Tripped on a tie and smacked your bean against the journal box. See where the dirt's wiped off? I guess that's all it was. Well, you're all right. Let's get rolling then. We still got a schedule to make. And this thing's still frozen up. Tighter than a wet corset. No, no, no. Get away from me, mister. I'm all right. No, you're not. Stand still. What? Wait a minute. Yeah, here we are. What's the rock for? Lefty, you didn't fall. The blood's on the back of your head. What's that? And here's the rock that did it. The question is, way out here in the middle of the desert, who was holding the rock? It wasn't a coyote. That's a cinch. Mr. Valentine, you know there are stories and legends about railroads. In fact, this very line in the old days was supposed to happen. Mr. Foster, I don't want to be disrespectful, but any talk about a haunt on a railroad is just, well, anyway. All right, boys. A heck with a hotbox. Just kick this car loose back on the old side. Kick it loose? Sure. Let the mornin' round pick it up. Seal car, nothing but farm machinery. It'll be all right. I'll buy that. Let's get out of here. Me too. The sooner, the better. What do you think, Mr. Valentine? What happened? I don't know. Nothing stolen, nothing touched. Just a man almost killed and not even he knows. You sure you want to buy this railroad? I told you nothing will stop me. After all, this wasn't important. This couldn't have had anything to do with it. They're not wanting to sell. The desert's central, huh? Haunted railroad. Okay, Mr. Forster, come on. Let's see who's next to get hit by a ghost. You know what I'm hoping? I'm hoping that if that ghost has any rocks left, he'll use them on that harmonica player. I didn't like those remarks he made at Brooksy one bit. On the other hand, I do like what you're about to hear, and I know you will too. Back to George Valentine. The desert's central railroad. It isn't much, but it's worth a million dollars to your client, Mr. Forster. What it might be worth to an engineer who was slugged by no one out in the middle of nowhere is another matter. Yes, if your name is George Valentine, you may not buy the idea of a haunted railroad, but you'll agree it's a mystery why there should be so much trouble around the desert's central or even so much trouble buying it. Where is this Forster? We left him at the hotel, Mr. Soto. We told the desk not to ring him this morning. No, you did. Well, that's very considerate. So you can come snooping around my office alone. You're in charge here at Chula City, aren't you? You own this so-called railroad. Don't insult either one of us. I do not. Yes, I'm the one who answered Forster's letter. And gave him the brush off. Well, one thing at a time now, won't you? Now, my innocent friend, the banks own this railroad, just like they own practically every other. Broken-down short line in the country. The banks? Yeah, there's a little thing called receivership, my dear. It has nothing to do with the telephone company. I was given this infernal job by a banker in Chicago who told me there was a golf course in this town. Don't you understand? I'm just a hired hand sent here to do a job. I've got enough problems without you acting like one. Problems like Lefty getting slugged last night? Oh, yeah, I'll have to look into that, I suppose. I don't know what goes on down here. Are you and I as strangers in this part of the country, Mr. Valentine? All right, no, no. I'm not changing the subject. Road has a detective. I'll put him right on it. On this Lefty incident, I mean. I think it's a good idea, but we already know about your detective. You do what, huh? You had him investigating Mr. Forster up in the city. Oh? Yeah. That's what you're down here early to find out about. Yes, yes, I did. My conscience got the better of me. I thought I'd better investigate, see if Forster was a real person, and if he was sane. Sane? I don't understand. This railroad loses $50,000 a year. Wow. Yeah. You see, unless a man were crazier, unless he had some other idea of how to make money on the road, people just don't buy into bankruptcy, do they? So blame me for being puzzled, Valentine? Mr. Valentine. Valentine for the love of heaven, I'm a busy man. Oh, I'm sorry. Just watching the trains out there, that's all. I haven't noticed they brought that car 418 in. What, George? Mr. Valentine, I am patiently trying to explain to you. Yes, yes, I heard you all right. Why does my client want to own something that loses money? Yeah. Well, it just occurred to me there might be more ways than one to make money on the desert central. See you later. George. Don't force to get him down here, Angel, will you? I'll see you in a few minutes. Hey, maestro. Hey, follow. Come here a minute, will you? Some railroad. They jab a flare into the side of a car. The heck with a fire hazard, huh? Look, follow, if I lighted a flare and jabbed it into the side of you, would you talk? Hi, mister, what's your trouble? I don't want to interfere with that musical bubblegum, but I'm curious. Sure, so am I. This is the same car, isn't it, 418? I noticed the burned-out flare, that's all the spike. Well, they brought the car in all right on the morning run, if that's what you mean. Yeah, that's it, morning run. Why'd you have a flare in next to the door in the morning? It is one thing you don't need in the desert and the morning it's more light. I like music, it's simpler. There was no flare here last night, I know that. So who tampered with the car during the night? Mister, you're crazy. Nobody tampers with anything in the desert except healer monsters. Look, a car full of machinery had to take a crane to lift. Hey, hey, wait a minute, what are you driving at? Curious about the other side of the car, that's all. That flare would only be there from somebody loading it at night, wouldn't it? Yeah, but nobody's been in this car, or seal's unbroken on the other side, too. Just curious, that's all. Hey, this road goes on south, doesn't it? Ties in with the Sonora National? That's a Mexican line, isn't it? Yeah, that's where this load's going, I guess. How to make money on a railroad. Hey, wait a minute. You want to get through there, it's easier to go through the open box car here. Oh, yeah, thanks. The doors ought to be shed anyhow. Don't jump down there yet. Why not? I wanted to show you a new tune on my harmonica, that's all. Oh, look, Buster. Still plays all right. Hi, baby. Wait till I shut this car up. Won't I do? Well, not exactly, I don't know who to talk to. Great, I haven't seen him, baby. He's like we're pulling out now, sorry. Well, I'm sure he was right. Save me an evening, will you, baby? Put that thing down, will you? Do you smell smoke? Sure. Put it down, I said. Oh, my mistake. How to hold an audience, huh? It's a gun, Mac. Okay, okay, play your harmonica, see if I care. Don't worry about the smoke, there isn't any fire anymore. We're nice and comfortable on a siding now. On a siding. And this is where I came in, isn't it? We had a hot box again, I suppose. The train shunted us off here and left us. I suppose. Okay, Buster, tell me something. If you wanted to give a car a hot box, you'd tamper with that thing out there you call a journal box, wouldn't you? I mean, if you threw sand or something into the journal box, isn't that the end of the bearing? Wouldn't that make it freeze up and lock or catch on fire or something? What's the name of that girly oars? She's pretty. What are you going to do? Open the door? Sure, why not? I don't like the air in here. You got friends, huh? What's he even doing? Fixing the hot box? That's all you have to do, isn't it? Let it cool off and change the packing or dump in some oil or something. Purdy view, ain't it? Boy, what a country. Sunset, huh? I had a long sleep. Nothing else to do. What's over there in the gulch? A house? No, just some friends. Building a fire to keep warm. It gets cold out here at night. What are we waiting for? What are they waiting for? Okay, I'll tell you. A truck, maybe. Yeah, we're close to the highway again, aren't we? They're waiting to help load up this car with something besides farm machinery. Something from Mexico, maybe. And they're waiting to slap a fresh seal on this car after they load it. Surge me? I just work here. Yeah, what's your job? Do you get rid of me? Or do you leave that up to the boss? Shut up. Listen. You hear your truck coming? I don't. Get back in the car. Oh, a train, huh? Well, that's more like it. They'll see us and stop in there. At you, sign? Sure, me. Hello. How's the Saab Alley? Who knocked you off? I got a schedule to maintain. What kind of array are you on? Hodgebox. Keep your shirt on. A night train will pick her up. So now I got to waste time on you. A midnight run, I said. They told me the dispatcher would have a midnight pick her up. All right, all right. Break up everybody's schedule. Wait a second! Let her roll! Okay, so you got rid of me. That was your last chance, man. Sure, sure. But I'll tell you a funny thing about being in a car with farm equipment, though. Now look, the door will get there. That's enough music out of you for a while, Buster. Hey, Paolo, nice work. You got rid of number nine fast enough, huh? You hear me? Brother, where is that thing? I haven't played one since I was a kid. Paolo! Hey, but Trilo, forgive me. It wasn't bad. Now what? Over here, other side. Cy Every, how'd you get here? Knocked off my caboose, what do you think? I'd better have a look around. And Miss Bruxyers told me the number of that car, and when I noticed it... Don't mind that. Get out of here. Holy smooth, Paolo. He's all right. It's getting dark, but let's stay on the other side of the car. What in the name of our nation is this railroad? There's a gang over there waiting to load up this car, waiting for a truck. Truck? Yeah, sure, that's the whole idea. Give a car a hotbox. It's dropped off. It comes along to Adelode that's already on a bill of lady. Wait a minute, young fellow. Wait a minute. Listen, how carefully did they ever check cars that switch over to the Mexican line just south of here? This road's got a good reputation, mister. Oh, see what you mean? Customs only run a spot check. And when a car even has a sealant... What about it? Headlights. Guess that's the truck coming now, huh? Yeah, there'll be too many guys. We're not gonna do anything. Put that Paolo in there. He's too down to... He's not the boss, and the whole road isn't in on it. Hey, truck's turning. Coming down this way. Yeah, okay, take it easy. They can't see us. Hey, Si, tell me something quick, will you? That sighting where you stopped last night, how far south is it from Elmo Junction? What? 32, 33 miles? Only what in time? Hey! Yeah, that's no truck. Mr. Sertok's car. Oh, Miss Brooks. Well, they were starting to look for you. They was worried... Come on, come on, run. Well, they're getting out of the car. Run, I said. Get back in, Sertok. Keep your motor running. Get in there, I said. They see me. Those men see me, Valentine. Get in, get in, all of you. You two, Si. Come on. Oh, Mr. Valentine. From here on, it's a job for the sheriff, Mr. Sertok. A bright boy on your railroad has been making a little money on the side. That's all, huh? Get the car turned around. There they come. They won't hurt us as long as we got the boss along with us, will they, Si? Now, you see here... Si, last night, you had piping hot coffee on the stove, and it tasted good. Apparently, it hadn't been boiling. But you claimed you'd been asleep since Elmo Junction. 33 miles. A good hour or more of this run. Hey, Si! But a fire would have burned down in that time. So you were really awake, Si. Yeah, it was you that slugged Lefty that put Paula to watching 418 in case I came snooping around. You dropped off just now to make sure the final load went through all right. Si, what's the matter? Hey, stop! Go! They got me! Oh, no, you don't, Buster. This thing I took away from Paula was no harm ever again. Hey, stop that! Hang on, everybody. We're getting away from here. Now relax and don't look so lonesome, Si. We'll be back to meet your friends very shortly. You know something? I sure would like to know what's behind all this fallarall of freight cars with hotboxes and stuff. Now, we know that old Si was behind it all, but why? Well, maybe if we listen to this a minute, we'll find out why. Sit, Valentine. They got the last one. Boy, everything loaded in that truck from... contraband to stolen goods. All headed for Mexico for sale. Yeah, but what about Paula? Oh, he's all right. Came out of that bump on his head. So mad at Si for getting him into this. All right, it's done now. It's not important. It's what? Now, Mr. Foster, when I find one of my own employees... Calm down, Sir Tucker. The sucker here still wants to buy it. It loses money, you know. What else is money for? I like railroad. Don't you? Well, if there was any other business in the... Well, all right, Mr. Foster. Come over to my car. We'll talk business. Okay, step on the starter, Angel. We'll stick to the highways. Yes, George. Hey, that guy, Paolo, thought you were kind of cute. Huh? Oh, George. Yeah, but he didn't have anything that I haven't got. Yes, George. Listen. Poor Bruxy. Here she was all set for some sweet talk, only to get some sour music instead. Say, I'll bet you if George took Bruxy for a moonlight ride in a canoe, he'd bring his fishing pole along. Oh, well. All of which brings us down to the fact that Robert Bailey stars as George Valentine with Virginia Greg as Bruxy. The story was written by David Victor and Jackson Gillis with music by Eddie Dunstin. Now this is yours truly inviting you to another visit with Valentine when you will again hear what happens when you let George do it.