The Penthouse Murder Mystery #01

Summary

Podcast Summary: "The Penthouse Murder Mystery #01"

Podcast Information:

• Title: Harold's Old Time Radio
• Host/Author: Harold's Old Time Radio
• Description: Radio shows from the Golden Age of Radio. The time before television and the family all sat around the radio and listened to the shows of the time like The Shadow, Abbott & Costello, Amos & Andy, Dragnet, and many more.
• Episode: The Penthouse Murder Mystery #01
• Release Date: January 20, 2025

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Introduction

The episode opens with a vibrant introduction by Jimmy Reagan, setting the stage for an engaging murder mystery that transports listeners to the glamorous yet suspense-filled era of the Golden Age of Radio.

Notable Quote:

• Jimmy Reagan (00:06): "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."

Setting the Scene

John Wrenn takes over to paint a vivid picture of the setting—a luxurious penthouse rooftop in a bustling cityscape. The description emphasizes both the opulence and isolation of the location, creating an atmosphere ripe for intrigue.

Notable Quote:

• John Wrenn (00:40): "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."

Introduction of Characters

The story unfolds in the elegant dining room of the penthouse, where a high-society gathering is taking place. The main characters introduced include:

• Phyllis Morley (Isabel Dawn): A popular young debutante engaged to Roland Dubeck.
• Gerald Norton (Rush Hughes): Phyllis’s suitor who challenges her choice of fiancé.
• Rollins Eubank (Jimmy Reagan): Phyllis’s actual fiancé, an electrical engineer with a murky past.
• Sergeant Hal Radish (Hal Radish): The determined police officer investigating a supposed murder.
• John Wrenn: Narrator who provides context and transitions.

Rising Tension and Conflict

The heart of the episode revolves around the tension between Phyllis Morley and Gerald Norton. Gerald confronts Phyllis about her sudden engagement to Roland Dubeck, revealing unsettling information about Roland's father, Al Eubanks, a former gangster known as "The Fox."

Notable Quotes:

• Gerald Norton (02:36): "Why, you know he's nothing but an electrical engineer. Oh, a tradesman, so to speak."
• Gerald Norton (03:44): "Are you aware that his father was the gangster who was taken to the country by his own companions five years ago?"

This revelation sows distrust and raises questions about Roland’s background, setting the stage for potential motives related to past criminal activities.

The Murder Mystery Unfolds

As the dialogue intensifies, a suspicious noise—a gunshot—is heard, prompting the arrival of Sergeant Hal Radish and his team. They accuse Rollins Eubank of murder, claiming that Richard Morley, Phyllis's father, has been killed and the body is supposed to be in the study.

Notable Quotes:

• Sergeant Hal Radish (04:37): "Perhaps that was a pistol shot you heard."
• Rollins Eubank (05:32): "My name is Rollins Eubank. This young lady is my fiance, Miss Phyllis Morley."

Investigation and Suspense

The sergeant's investigation reveals a series of inconsistencies:

• The lights in the penthouse go out mysteriously.
• The supposed body of Richard Morley is missing.
• Phyllis's father appears to be present at the reception despite the murder report.

Notable Quotes:

• Sergeant Hal Radish (07:32): "I'm going to introduce our director, Jimmy Reagan. The man who is responsible for all the dirty work at the crossroads."
• Sergeant Hal Radish (08:00): "Murder? The eye."

The suspense heightens as the sergeant struggles to control the situation, suspecting foul play amidst the confusion of disappearing bodies and unexplainable events.

Cliffhanger Ending

The episode builds to a tense climax with unresolved questions about the true whereabouts of Richard Morley and the authenticity of the murder. The sudden disappearance of both the body and Phyllis adds layers of mystery, leaving listeners eager for the next installment.

Notable Quote:

• Sergeant Hal Radish (07:55): "The devil. The body is gone."

Conclusion and Tease for Next Episode

As the drama concludes, John Wrenn transitions into an outro, encouraging listeners to return for the next episode where the mysteries will deepen.

Notable Quotes:

• John Wrenn (09:17): "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."
• John Wrenn (11:48): "Friends, I hope you like the cast and the production so well that you will write or telephone the radio station."

Behind the Scenes

In the final moments, the cast breaks character, providing a meta-commentary on the production and acknowledging the audience’s role in their success.

Notable Quote:

• Isabel Dawn (10:21): "My... fiancé. Oh, but he's only my microphone fiancé."

Rush Hughes (10:56): "Say, Isabel, I thought you were a lady in distress instead of a comedienne."

Overall Impressions

"The Penthouse Murder Mystery #01" effectively captures the essence of classic radio dramas with its rich storytelling, compelling characters, and suspenseful plot twists. The seamless integration of dialogue, sound effects, and narrative pacing creates an immersive experience that harkens back to the beloved era of family radio entertainment.

Listeners are left on a tantalizing cliffhanger, eagerly anticipating the unraveling of the mysteries introduced in this premiere episode. The inclusion of notable quotes with precise timestamps enhances the listening experience, allowing fans to recall standout moments and delve deeper into the narrative's intricacies.

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End of Summary

Transcript

[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.

[John Wrenn]

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. Awesome millionaire has secluded himself among the clouds on the roof of this modern tribute to a 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.

[Jimmy Reagan]

Good.

[John Wrenn]

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.

[Hal Radish]

Sh.

[Isabel Dawn]

Oh. What was that explosion? Was that a gun?

[Rush Hughes]

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

[Isabel Dawn]

Oh, dear.

[Rush Hughes]

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

[Isabel Dawn]

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

[Rush Hughes]

But, Phyllis, right out of a blue sky, you call us here and announce your engagement to this blooming chapter Roland Dubeck. Why, I thought that that was all settled about you and me.

[Isabel Dawn]

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.

[Rush Hughes]

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

[Isabel Dawn]

He is.

[Rush Hughes]

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

[Isabel Dawn]

I know that.

[Rush Hughes]

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.

[Isabel Dawn]

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?

[Rush Hughes]

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

[Isabel Dawn]

What do you mean?

[Rush Hughes]

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 Salem Bay 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.

[Isabel Dawn]

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. Well, listen, that sound. As if they'd stopped in the street below.

[Jimmy Reagan]

Oh, I see.

[Rush Hughes]

Perhaps that was a pistol shot you heard.

[Isabel Dawn]

Oh, dear.

[Rush Hughes]

Probably the jolly police are down in the street now gathering up the blooming remains of another gangster, but on the spot, so to speak.

[Isabel Dawn]

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

[Rush Hughes]

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

[Hal Radish]

I love you.

[Isabel Dawn]

Oh, love. Maybe I did.

[Hal Radish]

It's the name of the Lord. Open the door.

[Isabel Dawn]

That's the police.

[Hal Radish]

Open the door. I. Come on, Shelley, Open that door. All right, boys, all right, in with us. All right. Telly, 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?

[Isabel Dawn]

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.

[Hal Radish]

You can't Can I? Well, I did. And you lay off that funny business. Me find bucko. Who in 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.

[Isabel Dawn]

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.

[Hal Radish]

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.

[Isabel Dawn]

Murder? The eye.

[Hal Radish]

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

[Isabel Dawn]

Richard Morley murdered?

[Hal Radish]

That's right, miss.

[Isabel Dawn]

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

[Hal Radish]

Madam. Miss, what's happened?

[Isabel Dawn]

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

[Hal Radish]

Whoever phoned said that the buddy would be found in the study, Miss.

[Jimmy Reagan]

Quick, open that door, somebody.

[Hal Radish]

Wait. Wait, man. 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, hold. 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. Shh. Murphy, Jerry, find that switch. Turn on the lights. Who the devil did that? 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?

[John Wrenn]

No one, sir. I was standing by it myself, sir, and I didn't turn them out, sir. I didn't turn them on again either, sir.

[Hal Radish]

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

[John Wrenn]

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

[Hal Radish]

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, Murphy.

[John Wrenn]

Yes, sir. Okay, Sergeant. Miss Morley, the sergeant wants you in the other room. Just a moment, please. Miss Morley.

[Hal Radish]

Miss Morley.

[John Wrenn]

Miss Morley. The girl is gone, sir. She's not in that Sir.

[Hal Radish]

Is that the girl is gone?

[John Wrenn]

Yes, sir. And Mr. Morley's body is gone too, sir.

[Hal Radish]

The devil. The body is gone.

[Jimmy Reagan]

Thank you, sir. Officer, Ms. Marley is gone. She's not in there. She disappeared.

[Rush Hughes]

Let loose of me.

[Hal Radish]

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

[Jimmy Reagan]

Quiet.

[Hal Radish]

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 switchburt. What's that noise there? Quick, Jerry, in the study. Shoot again.

[John Wrenn]

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

[Jimmy Reagan]

It's locked, sir.

[Hal Radish]

I can't get busted down, I tell you. I can't get a shot. 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 I got it. I've got a hunch I need to take an agent Murphy before going in there. Belong to gun.

[John Wrenn]

Friends of Radio Land. 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.

[Hal Radish]

Wait a minute, Jimmy.

[John Wrenn]

All right, John, all right, you speak for yourself.

[Hal Radish]

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. Ms. Isabel Dawn. We all love Ms. Isabella.

[Isabel Dawn]

Oh, that's awfully sweet of you, Mr. Wrenn, 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 affair.

[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 Radish. Gerald Norton in the play you will soon see and hear, Hal, in your own theater in new talking picture successes.

[Rush Hughes]

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's 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.

[John Wrenn]

Thanks. Hell, 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 of.

[Isabel Dawn]

Oui, Zane.

[Rush Hughes]

Miss Puff. Hasta luego.

[Isabel Dawn]

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