The Penthouse Murder Mystery #01

Summary

Podcast Summary: The Penthouse Murder Mystery #01 | Harold's Old Time Radio

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Introduction

The Penthouse Murder Mystery #01 marks the inaugural episode of Harold's Old Time Radio series, transporting listeners back to the Golden Age of Radio. Hosted by Harold's Old Time Radio, this episode immerses the audience in a gripping murder mystery set against the backdrop of a glamorous skyscraper rooftop. Released on January 10, 2025, the episode showcases a stellar cast delivering a compelling narrative filled with intrigue, suspense, and classic radio drama elements.

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Setting

The story unfolds atop a modern skyscraper, offering a panoramic view of a bustling city illuminated by millions of twinkling lights. Despite the urban setting, the rooftop features a beautifully maintained home with a lush lawn, shrubbery, and small trees, creating a serene oasis high above the city's chaos. The setting establishes a contrast between wealth and elegance against the underlying tension of impending drama.

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Main Characters

1. Phyllis Morley – A popular young debutante from Boston society, engaged to Rollins Eubank.
2. Gerald Norton – Phyllis's suitor, expressing his dissatisfaction with her sudden engagement.
3. Sergeant – A police officer who disrupts the reception by announcing a murder.
4. Rollins Eubank – Phyllis's fiancé, portrayed as a charming electrical engineer with a mysterious background.
5. Narrator – Guides the audience through the unfolding drama with descriptive storytelling.
6. Isabel Dawn – A beloved comedienne and Broadway star, making a guest appearance.
7. Jimmy Reagan – The director within the play, introducing other characters and adding meta-narrative layers.

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Plot Summary

The episode opens with an advertisement for Warby Parker ([00:00]–[00:36]), which is promptly bypassed as Jimmy Reagan introduces The Penthouse Murder Mystery. Reagan entices listeners to dim their living room lights and immerse themselves in a radio drama featuring Hollywood's finest voice talents.

Act 1: The Engagement Reception

The story begins on the rooftop of a skyscraper where a lavish engagement reception is underway. Phyllis Morley announces her engagement to Rollins Eubank, surprising her suitor, Gerald Norton ([02:26]–[04:00]). Norton expresses his disapproval, questioning Phyllis's sudden change of heart and Rollins's suitability, hinting at Rollins's questionable family background.

Notable Quote:

• Gerald Norton ([04:14] at [04:14]): "Are you aware that his father was the gangster who was taken to the country by his own companions five years ago?"

Phyllis dismisses Gerald's concerns, emphasizing her love for Rollins despite his humble beginnings. The tension escalates as Gerald divulges Rollins's father's notorious past, threatening to tarnish Phyllis's reputation should she proceed with the engagement.

Act 2: The Police Intervention

Suddenly, disruptive sounds mimic gunshots, leading to heightened anxiety among the guests ([04:53]–[05:34]). A Sergeant bursts into the room, declaring a murder has occurred and demanding to locate the body ([05:33]–[06:33]). Confusion ensues as Phyllis reveals her father, Richard Morley, is present, leading to the shocking announcement that he has been murdered.

Notable Quote:

• Sergeant ([06:11] at [06:11]): "Where's the body?"

As the audience grapples with this revelation, the Sergeant struggles to manage the chaotic scene, suspecting foul play related to the engagement's controversial aspects.

Act 3: Lights and Disappearances

The Sergeant attempts to restore order by controlling the lighting, only to face inexplicable power issues ([07:01]–[08:07]). Suspicion arises as lights flicker without manual intervention, suggesting possible sabotage or supernatural elements. Amidst the confusion, Phyllis's father and Phyllis herself mysteriously disappear, deepening the mystery.

Notable Quote:

• Sergeant ([07:36] at [07:36]): "Who the devil turned out those lights? What the devil kind of a game is this?"

Conclusion and Teaser for Episode Two

As tensions peak with bodies and key characters vanishing, the episode concludes with an introduction of additional characters, including the acclaimed Isabel Dawn and a meta-commentary on the production itself ([09:47]–[12:49]). The narrator teases unresolved mysteries, such as maniacal laughter and the whereabouts of missing individuals, enticing listeners to return for the next installment.

Notable Quote:

• Narrator ([09:47] at [09:47]): "But if you will return with us at the broadcasting of episode two, perhaps we may learn where that maniacal laughter came from and what it meant."

Phyllis bids a cryptic good night, leaving the audience eager for the continuation of this enthralling mystery.

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Key Scenes and Dialogues

1. Engagement Conflict ([02:58]–[04:00])

   • Gerald confronts Phyllis about her engagement, unveiling Rollins's dubious lineage.

2. Police Announcement ([05:33]–[06:33])

   • The Sergeant declares a murder, creating immediate suspense and confusion.

3. Disappearance and Lights ([07:01]–[08:07])

   • The mysterious flickering lights and the sudden disappearance of characters heighten the suspense.

4. Meta-Narrative Introduction ([09:47]–[12:49])

   • Introduction of Isabel Dawn and Jimmy Reagan adds layers to the storytelling, blending reality with fiction.

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Conclusion

The Penthouse Murder Mystery #01 successfully captures the essence of classic radio dramas, blending engaging storytelling with dynamic character interactions. Through its well-crafted narrative and strategic use of suspense, the episode sets the stage for a thrilling series. Notable quotes and intense dialogues enrich the listening experience, making it accessible and intriguing for new audiences while honoring the traditions of old-time radio.

Listeners are left eagerly anticipating episode two, where unresolved questions and emerging tensions promise to unravel further mysteries within this captivating penthouse setting.

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Notable Quotes with Timestamps

• Gerald Norton ([04:14] at [04:14]): "Are you aware that his father was the gangster who was taken to the country by his own companions five years ago?"

• Sergeant ([06:11] at [06:11]): "Where's the body?"

• Sergeant ([07:36] at [07:36]): "Who the devil turned out those lights? What the devil kind of a game is this?"

• Narrator ([09:47] at [09:47]): "But if you will return with us at the broadcasting of episode two, perhaps we may learn where that maniacal laughter came from and what it meant."

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Final Thoughts

The Penthouse Murder Mystery #01 stands as a testament to the enduring appeal of radio dramas. By weaving a tale of love, betrayal, and mystery, Harold's Old Time Radio invites listeners to step into a bygone era where imagination and storytelling reigned supreme. Whether you're a longtime fan or new to the genre, this episode offers a rich and engaging experience that promises much more to come.

Transcript

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[Jimmy Reagan]

Ladies and gentlemen, we present for your entertainment the Penthouse murder mystery. The curtain will swing back from a gigantic stage bound only by the limits of your own imagination. Turn out the lights in your living rooms out there. And as you hear the voices of this wonderful cast of Hollywood talking picture stars come from the atmosphere. Jimmy Reagan will unfold for you a drama of the underworld that will carry you up and away into another existence in which the other half of humanity lives and breathes.

[Narrator]

Slowly, majestically, the curtain swings back and we are on the roof of a skyscraper, looking out over the millions of twinkling lights in the city below, high above the dust and roar of its streetcars, elevated railways and honking auto traffic. Yes, we are standing on the roof of a modern skyscraper, but it does not seem like a roof. Why, there stands a beautiful home surrounded by a beautiful lawn, smooth as velvet, with shrubbery growing. Even small trees are planted here. Ah. Some millionaire has secluded himself among the clouds on the roof of this modern tribute to the combination of engineering skill and money. Much money. Aha. Lights in the house and the shadows of many people thrown against the blinds as they move about the rooms. Inside, the strains of music filter through to us as we stand here on the launch. Ah. Someone throws open the French window. A beautifully gowned woman gazes into the night for a moment and is gone.

[Sergeant]

Good.

[Narrator]

Now we can see the entire interior of the room. It is the dining room. Everyone is taking their places at the long table. What a jolly, happy gathering it is, and what a gloriously beautiful picture. The brilliantly colored evening gowns of the young ladies contrasting against the somber black and white are the evening clothes of the men. Let us draw closer and perhaps we can overhear what that jolly group of young folks standing just inside the window. I'm saying.

[Phyllis Morley]

Oh, what was that explosion? Was that a gun?

[Gerald Norton]

Oh, no, Phyllis. Just one of your beastly American autos backfiring down in the street.

[Sergeant]

Oh, dear.

[Gerald Norton]

Oh, come, don't be nervous, dear. But Phyllis, tell me, why have you done this thing? I'm quite stumped, you know.

[Phyllis Morley]

Oh, now, Darrell, let's not talk about it, huh?

[Gerald Norton]

But, Phyllis, right out of a blue sky, you call it here and announce your engagement to the Bloomin chap. Rollins. Eubank. Why, I thought that that was all settled about you and me.

[Phyllis Morley]

No, no, no, Gerald. Now don't bring that up again, please. I love Rollins. I don't know. He's so different from the rest of you somehow.

[Narrator]

Different?

[Gerald Norton]

Yes, yes, quite so. Quite so. I should say he is different.

[Phyllis Morley]

He is.

[Gerald Norton]

Well, you know, he's nothing but an electrical engineer. Oh, a tradesman, so to speak. And this job that he has just completed for your father is his first contract.

[Phyllis Morley]

I know that.

[Gerald Norton]

He isn't even established in the commercial world, you know, to say nothing of his family background. And you one of the New England Morley.

[Phyllis Morley]

Stop it, Gerald. Stop it. What do I care if half the crew and the Mayflower of my ancestors. That has nothing to do with my loving Roland Eubank.

[Gerald Norton]

Well, then, Phyllis, perhaps this little statement will have some something to do with your loving him.

[Phyllis Morley]

What do you mean?

[Gerald Norton]

Are you aware that his father was the gangster who was taken to the country by his own companions five years ago? And his bloomin carcass left to rot in the ditch alongside the Pelhammay Drive? Yes, it's a very nasty story. But it will make a much nastier story when the reporters of the tabloid newspapers get it. It will read something like this. Ms. Phyllis Morley, popular young debutante of Boston society, marries the son of New York's late king of the underworld, Al Eubanks, more notoriously known to the newspapers and to the public as the Fox.

[Phyllis Morley]

Oh, you're just a fool. And you're a stupid prig, Gerald Norton. I can't pay any attention to what you say. I don't care. Listen. That sound as if they stopped in the street below.

[Jimmy Reagan]

Oh, I see.

[Gerald Norton]

Perhaps that was a pistol shot you heard.

[Phyllis Morley]

Oh, dear.

[Gerald Norton]

Probably the Charlie police are down in the street now, gathering up the blooming remains of another gangster, but on the.

[Sergeant]

Spot, so to speak.

[Phyllis Morley]

Stop it, Jo. Stop it, I tell you. I tell you. I shan't listen to you insulting, tricky babbling any longer. Now, you just get out of here. You go home. You've already ruined my evening.

[Gerald Norton]

Oh, but Philip, I couldn't help it. I can't help it, dear.

[Sergeant]

I love you.

[Phyllis Morley]

Oh, love. Maybe I did.

[Sergeant]

The name of the law. Open the door.

[Phyllis Morley]

Oh, that's the police.

[Sergeant]

Open the door. Come on, open that door. All right, boys. All right, inventors. All right. Jelly, you stand over by the French windows. Don't you Let anybody out of here. Do you understand? Okay, Murphy, you stand by the door. All right? Good. Now, some of you speak up and tell me where the murdered man is. Where's the body?

[Phyllis Morley]

What do you mean, where's the body?

[Jimmy Reagan]

What body? What are you talking about? Officer, what do you mean by bursting in here? This is a private reception. You can't burst in here like this.

[Sergeant]

You can. Can I? Well, I. Did you lay off that funny business behind, bucko. Who the devil are you anyway? What's your name?

[Jimmy Reagan]

My name is Rollins Eubank. This young lady is my fiance. Miss Phyllis Morley.

[Phyllis Morley]

Yes.

[Jimmy Reagan]

This group of young folks you see here in the room are guests at a little reception to announce that Miss Morley has consented to be my wife. Now get out.

[Sergeant]

Just a moment, young man. Just a moment. Who phoned for the cops? That's what I'd like to know. Somebody phoned that there'd been a murder committed here.

[Phyllis Morley]

Murder? The I.C.

[Sergeant]

Sure, I guess I ought to know. I took the call myself. And whoever it was said over the phone that it was Richard Morley that had been murdered.

[Phyllis Morley]

Richard Morley?

[Gerald Norton]

Murdered?

[Sergeant]

That's right, miss.

[Phyllis Morley]

Why, that's my father. Oh, dear. My father's here at the reception with us.

[Sergeant]

Father, you come and talk to the sergeant.

[Phyllis Morley]

But he's here by.

[Sergeant]

Madam. Miss, what's happened?

[Phyllis Morley]

Why, where is my father? Why, he was here just a moment ago. He was here in this very room. Where can you go on?

[Sergeant]

Let whoever phone said that the buddy would be found in the study. Mate.

[Jimmy Reagan]

Quick, open that door, somebody.

[Sergeant]

Now, wait, wait, wait. All right, stand back. Don't get excited. None of you try to leave this room. Do you hear me? Don't jab around that door. Do you hear what I say to you? Murphy, come here quick. Get in there with a girl. Jerry and I will take care of the crowd out here. Well, who the devil turned out those lights? What the devil kind of a game is this? Turn on the lights, I tell you. Stand by. Stand still, every one of you. If you don't, I'll shoot. Quiet, I tell you.

[Phyllis Morley]

Shh.

[Sergeant]

Murphy. Jerry. Find that switch. Turn on the lights.

[Narrator]

Who the devil did that?

[Sergeant]

That's better. Now that I can see you, stand just where you are and don't move. Not a single one of you, do you hear? Now, who was close to the switch when the lights went out, Jerry?

[Narrator]

No one, sir. I was standing by it myself, sir, and I didn't turn them out. Nor I didn't turn them on again either, sir.

[Sergeant]

Watch that. You mean to say they Went out and went on by themselves?

[Narrator]

Yes, sir. They must have, sir, or else they are controlled by some other switch besides this one, sir.

[Sergeant]

All right, all right. We'll see about that later. Now, go in and send the girl out here. And you stay in the study with the body. Mercy.

[Narrator]

Yes, sir. Okay, Sergeant.

[Sergeant]

Miss Morley, the sergeant wants you in the other room.

[Narrator]

Just a moment, please.

[Sergeant]

Miss Morley. Miss Morley.

[Narrator]

Miss Morley.

[Sergeant]

The girl is gone, sir. She's not in my. Sir.

[Phyllis Morley]

What's that?

[Sergeant]

The girl is gone? Yes, sir. And Mr. Morley's body is gone, too, sir. The devil. The body is gone.

[Jimmy Reagan]

What's that you said, officer? Miss Marley is gone. She's not in there. She disappeared.

[Sergeant]

Let loose of me.

[Jimmy Reagan]

Out of my way.

[Sergeant]

Hey, hey, young man, hold on there. Hold on.

[Jimmy Reagan]

Quiet.

[Sergeant]

Stand back, I tell you. This is the affair for the police. Now, the laws in charge here. Who's fooling with those lights? Hey, back with you. Back, I say. Back, all of you. Stand by the wall and don't let anyone near the switchback. What's that noise there? Quick, Jerry, in the study. Shoot again.

[Narrator]

Someone has shut. Someone has shut the door, sir.

[Jimmy Reagan]

It's locked, sir.

[Sergeant]

I can't get busted down, I tell you. I can't get a shut shoot off the lock. All right, I didn't get it yet, Sergeant. Stand back and give me a chance at it. Attaboy, Sergeant. Now, we got a razumappi before going in there. Reload you can.

[Narrator]

Friends of radio lamps, we are sorry, but our few minutes on the air with you tonight is almost finished. The time has passed, as time has a habit of doing. But if you will return with us at the broadcasting of episode two, perhaps we may learn where that maniacal laughter came from and what it meant. But before we leave you, I'd like to have you hear a few words from an old friend of yours who needs no introduction to any motion picture fan. One of the famous Three Inch Brothers. The eldest brother, in fact.

[Sergeant]

Wait a minute, Jimmy.

[Narrator]

All right, John. All right. You speak for yourself.

[Sergeant]

Thank you, Jimmy, for the opportunity to talk about myself. But I'd rather talk about our lovely little leading lady whose voice has charmed millions for years on the Collier Hour and other national broadcasting programs, and whom you've seen on the screen and on Broadway in White Cargo, this thing Called Love and many other New York successes. Miss Isabel Dawn. We all love Miss Isabella.

[Phyllis Morley]

Oh, that's awfully sweet of you, Mr. Rhinds, to say that about me, but, well, speaking of love. Well, I'd like for them all to meet my. My big moment. I mean, that's just my air love. My fiance. Oh, but he's only my microphone fiance. You see, he's really so charming. He's a young man who is one of Hollywood's best looking picture stars. And believe me, that's the truth. His last name is internationally known and his first name, well, he certainly rushed me into this.

[Jimmy Reagan]

Say, Isabel, I thought you were a lady in distress instead of a comedienne. Ladies and gentlemen, I am Rush Hughes Rollins Eubank to you. And I'm going to return Good for Evil and have you meet my rival up here in the penthouse, Hal Raitus Gerald Norton in the play you will soon see and hear, Hal in your own theater in new talking picture successes.

[Gerald Norton]

Thank you, Rush. You're a very gracious rival. Now, ladies and gentlemen, I'm going to introduce our director, Jimmy Reagan. The man who is responsible for all the dirty work at the crossroads. The man whose pen thrills you and kills you and leaves you up in the air. We're all up in the air here in the penthouse and it's Jimmy Reagan fault. We've all worked for many directors, but never, I believe, for one that we liked and admired quite as much as our own. Jimmy. Hey, Jimmy, come on over here and step out of that green light and meet you public.

[Narrator]

Thanks, El. Friends, I hope you like the cast and the production so well that you will write or telephone the radio station. Because after all, that is the only kind of applause they get. And that we get. And an artist's spirits rise and fall with the volume of the applause. And so, until episode two, we bid you.

[Phyllis Morley]

Oh, good night. Oh, there it is again.