WEBVTT 00:00.000 --> 00:03.600 Tom Mix Ralston's straight shooters are on the air. 00:03.600 --> 00:08.100 And here comes Tom Mix, America's favorite cowboy. 00:08.100 --> 00:09.900 Huck Tony, come on boy! 00:09.900 --> 00:11.900 Huck Tony, come on boy! 00:11.900 --> 00:16.900 Start the morning with hot Ralston, and you surely will agree 00:16.900 --> 00:20.900 That this warm-up build-up breakfast gives you cowboy energy 00:20.900 --> 00:24.900 It's delicious and it's precious, made of golden western wheat 00:24.900 --> 00:29.500 Take a sip from Tom going, there's your mom, hot Ralston, take me, me 00:29.500 --> 00:33.500 This is the 50th anniversary of the Tom Mix Ralston straight shooters 00:33.500 --> 00:37.500 And here he is, as he was heard for many of those years 00:37.500 --> 00:40.500 Curly Bradley, Tom Mix of radio 00:40.500 --> 00:45.000 Howdy straight shooters, this is Tom Mix and I'm glad to be with you again 00:45.000 --> 00:48.500 And to tell you to wind up at one of my strangest cases 00:48.500 --> 00:51.500 The mystery of the vanishing village 00:51.500 --> 00:56.000 Let me go back to when Mike Shaw, Hardy Pulse and I were riding along the trail 00:56.000 --> 00:59.000 And saw those lights of Smithsville 00:59.000 --> 01:02.000 Tom, I don't rightly savvy what's going on here 01:02.000 --> 01:05.500 A whole town popping up out of the nothing where it disappeared 01:05.500 --> 01:08.500 Hey, wait a minute, I don't know much about this 01:08.500 --> 01:12.000 But I just work in the movies and I don't get paid to go into real danger 01:12.000 --> 01:15.000 You sit your horse up here on the ridge, Mike 01:15.000 --> 01:19.000 Get your six guns loosened and your horses like always Tom 01:19.000 --> 01:20.500 Alright, then let's ride 01:20.500 --> 01:23.300 The 01:25.500 --> 01:29.000 Mike and I took a shallow grade down from the road 01:29.000 --> 01:33.000 It was tough going, but Mike and I knew what we were doing 01:33.000 --> 01:36.000 Then we covered a short stretch of level ground 01:36.000 --> 01:40.000 And then we were pulling up even with the first lighted lamppost 01:40.000 --> 01:43.000 Sure is quiet, Tom 01:43.000 --> 01:46.000 No music, no dogs, no voices 01:46.000 --> 01:47.500 Oh, you're right, Mike 01:47.500 --> 01:50.500 In more ways than one, Smithville is a ghost town 01:50.500 --> 01:53.000 Yeah, but the lights are on, Tom, who lit the lights? 01:53.000 --> 01:55.000 Who does light the lights in a ghost town, Mike? 01:55.000 --> 01:57.500 You're making the short hairs on the back of my neck bristle up 01:57.500 --> 02:00.500 Only if you think what somebody wants you to think, Mike 02:00.500 --> 02:03.000 Only if you see what they want you to see 02:03.000 --> 02:05.500 I can see this village of Smithville, Tom 02:05.500 --> 02:07.500 I can see that it's real 02:07.500 --> 02:11.000 I can lean over and touch the wall of this dry goods store 02:11.000 --> 02:13.500 I can pound on it 02:13.500 --> 02:15.500 It's real, I can feel it 02:15.500 --> 02:17.500 Yes, Mike, can you even smell it? 02:17.500 --> 02:20.500 Smell it? Well, I sure, Tom, I can 02:20.500 --> 02:23.500 When I pounded that side and it raised some fresh sawdust 02:23.500 --> 02:25.500 Yes, fresh sawdust 02:25.500 --> 02:29.500 In the beam of that street light, I can see that look on your face 02:29.500 --> 02:31.000 You know something, Tom 02:31.000 --> 02:33.500 No, Mike, not know it for a proven fact 02:33.500 --> 02:35.500 But I now have a reason to suspect 02:35.500 --> 02:37.500 No, I can't say it yet 02:37.500 --> 02:45.500 But I think we're finally on the trail that will wind up this mystery of the vanishing village 02:55.500 --> 02:57.500 Mike and I searched the village of Smithville 02:57.500 --> 02:59.500 But it was as we suspected 02:59.500 --> 03:01.500 Not a living person was there 03:01.500 --> 03:05.500 We had to get back to Hardy Post on the Ridge Road 03:05.500 --> 03:07.500 He was waiting for us, all the same 03:07.500 --> 03:11.500 I was glad we were taking him back to the DM bar where I could keep an eye on him 03:11.500 --> 03:16.500 At the ranch, I took aside one of my older compadres 03:16.500 --> 03:18.500 Fakis, now that you're back from the rodeo circuit 03:18.500 --> 03:22.500 Can I ask you to do a job that isn't exactly part of ranch work? 03:22.500 --> 03:25.500 I reckon I'm ready to settle up for any job you ask me to do, Tom 03:25.500 --> 03:28.500 Hell, I knew I could count on you, Fakis 03:28.500 --> 03:31.500 I want you to go to the hospital where Doc Green is treating Mary Slade 03:31.500 --> 03:35.500 I want you to see that a certain sidewinder doesn't get a chance to strike again 03:35.500 --> 03:38.500 That snake better keep to its hole 03:43.500 --> 03:45.500 Fakis told me you wanted to see me, Doc Green 03:45.500 --> 03:49.500 Oh, Hank Smith, yes, yes, my boy, I wanted to see you 03:49.500 --> 03:51.500 And I want your help 03:51.500 --> 03:53.500 For Mary? Anything, Doc 03:53.500 --> 03:55.500 We've done all we can 03:55.500 --> 03:57.500 There's her mind 03:57.500 --> 03:59.500 Maybe you could say her soul 03:59.500 --> 04:02.500 Maybe the soul isn't the province of a country doctor 04:02.500 --> 04:04.500 But you and I have to reach there 04:04.500 --> 04:06.500 I'm ready, Doc 04:06.500 --> 04:08.500 All right, come along over here 04:08.500 --> 04:12.500 I know she looks pale, but her breathing is regular 04:12.500 --> 04:15.500 I'm going to give her an injection now 04:15.500 --> 04:18.500 Stimulant 04:18.500 --> 04:20.500 Should start working immediately 04:20.500 --> 04:23.500 Speak to her, Hank, bring her back to you 04:23.500 --> 04:25.500 Mary? 04:25.500 --> 04:27.500 Mary, dear 04:27.500 --> 04:29.500 It's Hank 04:29.500 --> 04:31.500 She's responding 04:31.500 --> 04:33.500 Go ahead, Hank 04:33.500 --> 04:35.500 Mary, dearest, can you hear me? 04:35.500 --> 04:37.500 Her eyelids are fluttering 04:37.500 --> 04:39.500 Her eyes are open 04:39.500 --> 04:42.500 Don't be afraid, Mary 04:42.500 --> 04:44.500 It's me, Hank 04:44.500 --> 04:46.500 Do you understand? Hank 04:46.500 --> 04:49.500 She knows you now, Hank 04:49.500 --> 04:53.500 It's funny, she seemed almost frightened of you at first 04:53.500 --> 04:56.500 I know why that was, Doc 04:56.500 --> 04:58.500 She's asleep now 04:58.500 --> 05:00.500 She'll wake in a few hours 05:00.500 --> 05:02.500 Why don't we have to leave her now, Hank? 05:02.500 --> 05:04.500 It's important she rest 05:04.500 --> 05:06.500 Come along outside 05:08.500 --> 05:10.500 Doc, how's that little gal doing? 05:10.500 --> 05:12.500 Fine, Pecos 05:12.500 --> 05:14.500 Hank, you were saying you knew what... 05:14.500 --> 05:17.500 Well, there's that movie director, Harlequin Houdain 05:17.500 --> 05:19.500 Tom and Mike told me about him 05:19.500 --> 05:23.500 He couldn't have told you what a miserable excuse for a human being he is 05:23.500 --> 05:28.500 He's in the sick room where lies the poor unfortunate Mary Slade 05:28.500 --> 05:33.500 Struck down in her youth and beauty by some foul feet 05:33.500 --> 05:35.500 We must photograph her 05:35.500 --> 05:37.500 Cinema verity demands it 05:37.500 --> 05:40.500 Photograph her even at death's door 05:40.500 --> 05:42.500 Oh, he's ready to buy me a Mr. Dane 05:42.500 --> 05:43.500 Why, you dirty... 05:43.500 --> 05:45.500 Hold on, Hank, hold on 05:45.500 --> 05:48.500 Tom sent me over here to take care of things like this 05:48.500 --> 05:50.500 Howdy, Mr. Dane 05:50.500 --> 05:52.500 My name is Pecos Williams 05:52.500 --> 05:54.500 Interest me? 05:54.500 --> 05:59.500 Well, Tom Mix thought you might be interested in me for local color 05:59.500 --> 06:02.500 See, I got a big head and boom 06:02.500 --> 06:04.500 Out of my way 06:04.500 --> 06:06.500 I'm going to see that girl 06:06.500 --> 06:08.500 I even got myself a six shooter 06:08.500 --> 06:10.500 I favor a single action model myself 06:10.500 --> 06:12.500 See, a cockat like this 06:12.500 --> 06:14.500 See, the hammer stays back just like that 06:14.500 --> 06:18.500 Harmless until you pull the trigger here 06:18.500 --> 06:20.500 My mind couldn't mind you 06:20.500 --> 06:23.500 You have that monstrous weapon pointed at me 06:23.500 --> 06:25.500 It's perfect for the harmless 06:25.500 --> 06:27.500 Until I pull this trigger 06:27.500 --> 06:29.500 Don't touch that 06:29.500 --> 06:31.500 I'm getting out of this rural madhouse 06:31.500 --> 06:33.500 Marshal Mitchell here 06:33.500 --> 06:35.500 Good work, Pecos 06:35.500 --> 06:38.500 Hank, there's something I have to know 06:38.500 --> 06:40.500 Something I think Pecos will want to tell Tom 06:40.500 --> 06:43.500 Why do you think Mary was afraid of you at first? 06:43.500 --> 06:46.500 Because, Doc, I look like my father 06:46.500 --> 06:47.500 How's that? 06:47.500 --> 06:49.500 My father, Sam Smith 06:49.500 --> 06:51.500 That's Sam Smith 06:51.500 --> 06:55.500 The man who owns the vanishing village of Smithville 07:07.500 --> 07:10.500 Mike, we're going to have a little chat with Hardy Post 07:10.500 --> 07:12.500 He still hasn't come down for breakfast, has he? 07:12.500 --> 07:15.500 Hasn't budged out of his room since last night, Tom 07:15.500 --> 07:18.500 Sent down an order of a cookie to send his breakfast up on a tray 07:18.500 --> 07:21.500 We'll bring Mr. Post some questions to chew on 07:21.500 --> 07:23.500 Come on 07:23.500 --> 07:27.500 Can't say I care much for that Hollywood publishing man, Tom 07:27.500 --> 07:32.500 Hardy Post and his boss, the so-called Great Dane, never had a very good reputation in Hollywood 07:32.500 --> 07:34.500 Now, here we are 07:35.500 --> 07:37.500 Bring it in 07:38.500 --> 07:40.500 Oh, Bix, Sheriff Shaw 07:40.500 --> 07:42.500 Thought you were my breakfast 07:42.500 --> 07:43.500 Do I look like a fried egg? 07:43.500 --> 07:46.500 To preserve our friendship, Sheriff, I'll not answer that one 07:46.500 --> 07:49.500 Friendship is a mighty important word, Niece Bartsch 07:49.500 --> 07:51.500 You're right, Mike 07:51.500 --> 07:53.500 Now, forget about your stomach for the moment, Hardy 07:53.500 --> 07:55.500 I want to ask you some questions 07:55.500 --> 07:57.500 You take it seriously, don't you, Mix? 07:57.500 --> 08:00.500 Being a marshal in this hick town adobe 08:00.500 --> 08:02.500 You were great in film 08:02.500 --> 08:04.500 All this western gear here around the room 08:04.500 --> 08:06.500 Can you still use this lariat? 08:06.500 --> 08:09.500 Oh, I imagine I can put a loop on what I have my eye on, Hardy 08:09.500 --> 08:10.500 Let me see 08:10.500 --> 08:13.500 I think you get your rope spinning like this 08:13.500 --> 08:15.500 Oh, good 08:15.500 --> 08:18.500 I still know how to put a rope where I want it 08:18.500 --> 08:20.500 You put it on me, I'll take it off 08:20.500 --> 08:23.500 Well, at least the loop isn't around your neck, Hardy 08:23.500 --> 08:24.500 At least not yet 08:24.500 --> 08:26.500 They hang people for murder 08:26.500 --> 08:28.500 I don't know what you're talking about 08:28.500 --> 08:30.500 Yes, you do, Mr. Post 08:30.500 --> 08:33.500 Sheriff, I've seen that look on men's faces before 08:33.500 --> 08:36.500 You know exactly what Tom was talking about 08:36.500 --> 08:37.500 It's as clear as quick water 08:37.500 --> 08:39.500 Listen, Hardy, I know everything 08:39.500 --> 08:41.500 I know how Smithville vanished 08:41.500 --> 08:43.500 I know how it came back 08:43.500 --> 08:45.500 And I know who's behind it 08:45.500 --> 08:46.500 You couldn't 08:46.500 --> 08:47.500 Oh, but I do 08:47.500 --> 08:50.500 You and the Great Dane wanted a hit movie 08:50.500 --> 08:53.500 You'd do just about anything to get the publicity to make a hit 08:53.500 --> 08:55.500 It meant millions of dollars 08:55.500 --> 09:00.500 You too hatched up a scheme to make our whole village disappear from the face of the earth 09:00.500 --> 09:03.500 How could I talk a whole town full of people into getting lost? 09:03.500 --> 09:05.500 You and the Dane needed help 09:05.500 --> 09:10.500 And I reckon Dane could spot a man who would do just about anything for enough money 09:10.500 --> 09:12.500 A man like Sam Smith 09:12.500 --> 09:16.500 That's why his boy Hank couldn't take the greed that has come to possess Sam 09:16.500 --> 09:19.500 When his whole town seemed to be getting smaller 09:19.500 --> 09:25.500 You mean Dane got Sam Smith to tell all the people who rented his stores and houses into going into hiding somewhere? 09:25.500 --> 09:26.500 Yes, Mike 09:26.500 --> 09:28.500 For a supposed publicity stunt 09:28.500 --> 09:30.500 Those people owed Sam a lot 09:30.500 --> 09:34.500 And they hadn't seen through him yet the way his boy had 09:34.500 --> 09:37.500 But Sam still has them hiding out somewhere 09:37.500 --> 09:38.500 Where is it, Hardy? 09:38.500 --> 09:40.500 Line shacks on the Neasley? 09:40.500 --> 09:42.500 Those caves on Thunder Mountain? 09:42.500 --> 09:44.500 Uh-huh, that's it, the caves 09:44.500 --> 09:46.500 You don't know what you're talking about 09:46.500 --> 09:50.500 How could the village, the houses, the buildings come and go like magic? 09:50.500 --> 09:52.500 It was magic, Hollywood magic 09:52.500 --> 09:56.500 The movie crew disassembled that handful of buildings in Smithville 09:56.500 --> 09:59.500 Stored them and put them back when the time came 09:59.500 --> 10:01.500 All clever work 10:01.500 --> 10:06.500 But I could smell the fresh sawdust of new construction when Smithville reappeared 10:06.500 --> 10:08.500 How could you transport all that stuff? 10:08.500 --> 10:11.500 Oh, you shouldn't have asked that one, Hardy 10:11.500 --> 10:17.500 You used the trucking company of Salahed Hill Alpine and the railroad spur managed by Harvey Phillips 10:17.500 --> 10:20.500 And when it got too serious, they threatened to talk 10:20.500 --> 10:22.500 And you lost your head and killed him 10:22.500 --> 10:23.500 No, no! 10:23.500 --> 10:24.500 Oh, yes 10:24.500 --> 10:25.500 Things were getting out of hand 10:25.500 --> 10:28.500 Mary Slade wouldn't wait with the other villagers 10:28.500 --> 10:30.500 She wanted to see Hank Smith 10:30.500 --> 10:34.500 Then Greed-crazed Sam Smith, her future father-in-law, struck her down 10:34.500 --> 10:39.500 Now, that's obvious from the fear she showed when she mistook the son for the father 10:39.500 --> 10:40.500 You're right, Mix 10:40.500 --> 10:42.500 It's all coming apart 10:42.500 --> 10:44.500 Things going wrong 10:44.500 --> 10:46.500 Why couldn't they stick to the script? 10:46.500 --> 10:50.500 Those were my sentiments exactly, Hardy Post 10:50.500 --> 10:53.500 Oh, you opened that door quietly, Dane 10:53.500 --> 10:57.500 Tom, that looks like some kind of foreign gun the great Dane is toting at 10:57.500 --> 10:59.500 Well, you're yes-men now, Dane 10:59.500 --> 11:01.500 Oh, I don't need them for this, Mix 11:01.500 --> 11:04.500 I've relied on fluckeys too much lately 11:04.500 --> 11:08.500 My problem is that I need a whole new cast 11:08.500 --> 11:13.500 I would have started the replacements with Mary if it hadn't been for that interfering Peckus 11:13.500 --> 11:18.500 But all in all, I think I'll enjoy beginning with you instead 11:18.500 --> 11:20.500 I don't think you will 11:20.500 --> 11:25.500 Dane, you've got a lot to learn about the West and real men like Tom Mix 11:25.500 --> 11:27.500 Sure, you got a gun pointed at Tom 11:27.500 --> 11:31.500 But you're a city feller, full of soft living and giving other folks orders 11:31.500 --> 11:35.500 Tom's muscles and nerves are trained to an edge you can't even imagine 11:35.500 --> 11:37.500 When he sees your fingers start to tighten on the trigger 11:37.500 --> 11:41.500 He'll draw his gun from its holster and fire before your brain can even get to picture 11:41.500 --> 11:43.500 Oh, that's nonsense, bluff 11:43.500 --> 11:46.500 No, Dane, bluff won't work, not for you, not for me 11:46.500 --> 11:48.500 This is the showdown, drop that gun 11:48.500 --> 11:51.500 No, I'll shoot 11:51.500 --> 11:55.500 Take it easy, Dane, I just shot the gun out of your hand 11:55.500 --> 11:58.500 Try counting your fingers, I think you'll find them all there 11:58.500 --> 12:02.500 But that sore hand is just the beginning of the thing you've got to do 12:02.500 --> 12:05.500 You've messed in people's lives, you've caused death 12:05.500 --> 12:08.500 You can't tell your fantasy from reality 12:08.500 --> 12:12.500 But I've learned what's real in this world for men like you, Dane 12:12.500 --> 12:17.500 And you, Hardy Post, in a jail cell or your own conscience 12:17.500 --> 12:22.500 In the long haul or the short, men like you, lawbreakers, always lose 12:22.500 --> 12:26.500 Straight shooters always win, it pays to shoot straight 12:26.500 --> 12:40.500 And so ends the mystery of The Vanishing Village 12:40.500 --> 12:48.500 Tom Mix was played by Curly Bradley, featuring Jack Lester as Mike, Lester Mane as Doc, and Jim Harmon as Pecos 12:48.500 --> 12:54.500 with Art Hearn and Richard Gullah, original material written, produced, and directed by Jim Harmon 12:54.500 --> 13:00.500 Production assistant Barbara Gratz, engineer Steve Markham for Frank Brzee Studios 13:00.500 --> 13:06.500 This is the 50th anniversary presentation of the Tom Mix-Ralston Straight Shooters on the Air 13:06.500 --> 13:18.500 Start the morning with Mark Halston, and you surely will agree, that the form of fill that's like this gives you cowboy energy 13:18.500 --> 13:37.500 Thank you for watching!