We conclude our "I Love a Mystery" "The Million Dollar Case" as Jack, Doc and Reggie get to the bottom of the mystery.
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The Mutual Audio Network
Audio Groove Cast #9: I Love a Mystery Finale!(081124)
(upbeat music) This episode is brought to you by Experian. Are you paying for subscriptions you don't use, but can't find the time or energy to cancel them? Experian could cancel unwanted subscriptions for you, saving you an average of $270 per year, and plenty of time. Download the Experian app. Results will vary, not all subscriptions are eligible. Savings are not guaranteed. Paid membership with connected payment account required. It's the Sunday Showcase on the Mutual Audio Network. (upbeat music) The following audio drama is rated PG for Parental Guidance recommended. (upbeat music) (upbeat music) Welcome back to Audio Groovecast, where we conclude our series, "I Love a Mystery, the Million Dollar Curse" written by Carlton E. Morris. Before we play tonight's episodes, let's talk for a minute about Tony Randall, the well-known actor who plays Reggie York in tonight's show. Randall, who most people may know from starring as Felix Unger in the television adaptation of Neil Simon's The Odd Couple, had a radio, television stage, and film career that started in 1942 and ran right up to his death in 2004. During that time, he received six Golden Globe Award nominations and six Primetime Emmy Award nominations, winning one Emmy. He was also nominated for five Tony Awards, including Best Lead Actor in a Musical for his role in O-Captain in 1958. Born in Oklahoma, Randall studied at Northwestern University and the Neighborhood Playhouse School under legendary acting teacher Sanford Meisner and choreographer Martha Graham. He also served in the Army for five years during World War II, reaching the rank of First Lieutenant. Part of his work included code-breaking for the Signal Intelligence Service. Besides The Odd Couple, which ran for five seasons, he also starred in The Tony Randall Show and Love Sydney among many other TV appearances. Randall starred in many Broadway productions, including the aforementioned O-Captain, as well as Inherit the Wind, and Anthony and Cleopatra with Catherine Cornell, Charlton Heston, and Maureen Stapleton. Randall's last appearance is on stage where in Bertol Brex, the resistable rise of Arturo Wie in 2002, and Wright U.R. in 2003. He also founded the National Actors Theater at Pace University, and the university granted him an honorary doctor of Fine Arts degree in 2003. His radio career was primarily an eye-lover mystery from 1949 to 1952, but he also appeared in The Adventures of Frank Meriwell, the Cavalcade of America, and Best Plays. Randall appeared in close to 55 films, including Oh Men, Oh Women, Will Success, Spoil, Rock Hunter, and Pillow Talk. He has the distinction of appearing on The Tonight Show 105 times, more often than any other celebrity. He also appeared in The Letterman Show 70 times with David Letterman saying that he was one of his favorite guests. Known for being a guest panelist on game shows like What's My Line, Password, The Hollywood Squares, and the $10,000 in $20,000 Pyramids, he also paraded his pompous image as a contestant on The Gong Show in 1977. He also won $9,900 playing Jeopardy on behalf of the National Actors Theater in 1994. Randall died in his sleep on May 17th, 2004. He was 84 years old. A legendary career to say the least. So sit back, grab a nice set of headphones, and enjoy the final three episodes of I Love a Mystery, The Million Dollar Curse. (crowd cheering) The digital broadcasting system presents "I Love a Mystery." (crowd cheering) (dramatic music) (dramatic music) (dramatic music) (crowd cheering) - On you, count in more "Sadventure" thriller. (dramatic music) - Well, at least there's one thing, you know, that Mark's fellow ain't gonna die. - He's a long way from being dead. - Close that door when you're aging. - He's quiet. - Another, we got the library to ourselves. Let's give this business a quick going over. - I'd say it was about time. - Yeah, I don't know. Witchy and I'm standing on high at the time. - Now, before we get into that, what about that torpedo? - A feller at shot, Mark? - Yeah, well, he got clean away in the fog. - I know that. Either if you get a good look at him. - In this weather? Well, feller, the fog's a thick outside. - How 'bout you, Regie? - Mm, not a bit of it. Right on top of the shooting, I looked out the window and saw the belly-blighter going down the fire escape. If I had a gun, I could've potted him easily. - Didn't see his face at all? - No. - Well, that shooting brought to light a couple of interesting possibilities. - Yeah? - Yeah, do you recall what Mark's was saying just before he was shot? - He was crying. You were just mentioned Donald Robert Lincoln as a possible leader of the mob that's doing this dirty work. - Oh, yeah, and Mark's, he just remembered something. Something about a deal between old money bags, Lincoln and Sony's proper, just before he is shot. - Exactly, could it be that the gunman shot at that particular moment to prevent Mark's from finishing what he was about to tell us? - Hey, if that's true, then that would just about prove that Lincoln is the chap they were looking for. - Yeah, gunplay to cover up something in Lincoln's past. - That's one of the possibilities. Another one is the fact that Leslie Marks was only shot in the shoulder. - Huh? What is that prove? - Well, doesn't it seem a bit odd that Marks wasn't shot dead? Marks were sitting less than 15 feet from the window. I could've done a better job than that with a slingshot. - No, Phil, I don't think that proves anything. If all the bad shots in this world was laid end to end, besides that, he was standing on a far escape and anxious to make his getaway. No, I don't think that shooting proves a thing. - Well, maybe you're right, but listen to my theory anyway. - Well, still it. - Well, this is built on the assumption that Leslie Marks is the mob leader. - I'd say, and one of his own men shot him. You mean they're turning on him? - No, it was a plan. We've talked so much about Marks being close to Sonny and not being bothered, he had to do something about it. So what does he do? He plans one of his men on the far escape with instructions to shoot him in our presence. - Joe, what a chance he was taking. - Not if you knew his gunman. Some of these torpedoes can shoot the eyes off of flying. - Boy, it is sure being out of my heart to be. - Exactly, we saw him shot down. So naturally, he'd be the last man in the world we'd suspect as the gangly. - So now we've got our choice between Lincoln and Marks. - Yeah, and I put my money on Lincoln. - You don't like my theory about Marks, huh? - Well, fella, if you want the truth, I don't. - No, why not? - Well, I don't know. I just don't. Sound just a little bit like something they'd think up in the movies. - Mm-hmm. You get what of me? - Yeah, well, maybe you're right. I'd still like to know why the gunman didn't kill Marks at 15 feet down. - Mm, it's quite. Well, why didn't he step into the room and finish up the job proper? None of us was armed. I mean, to say he took a ballet chance making his escape down four stories on the fire escape? - Well, don't get me wrong. I still think Marks is a good possibility. - And now there's something else that's stuck out in our conversation over there like a sore thumb. If you get it? - Yes, I'll slip to it. - Reggie? - Well, as a matter of fact, there was one thing. - Yes, I thought you'd get it because you weren't with Duck and me when we were taken to the brownstone house. - Well, I still don't get what you're talking about. - Well, you told the story of how the two gunmen held us up and took us down to the basement of the house. Then you said all of a sudden, bam, somebody shot 'em with a sort of shotgun. - Yeah, I remember. - Well, Phil asked, was there someone else in the basement? And you said no, the shot came from the basement window. - Yeah? Well, I guess I'm just playing dumb. - Don't you see, Doc? The subject was dropped right there. Not a single person in the room asked who fired the shotgun. And all the time, that was the thing I wanted to know most. I wasn't there, so naturally, I wanted to know if you and Jack knew who fired the shots. - Oh, yeah, sure. - But don't you see? It was just as though everyone in the room knew who shot those two gunmen. - Yeah, well, even Sonny didn't ask. - Not only Sonny, but Phil Terry and Leslie Marsh. - And Phil's brother, Arthur? - Well, there was a good reason why Arthur wasn't curious. - There was? - Yes, we have no chance to tell you before, Reggie. Arthur wasn't curious because it was Arthur, who did the shooting. - Oh, look here, you're sure? We practically caught him red-handed. But will you tell me why Phil and Marx and Sonny didn't ask? - Yeah, you think they knew? - Well, they knew something. - But, looky, you're a Sonny, don't you? - Naturally. - Well, couldn't we just get ahold of Sonny and get it out of her? - I might try, I don't like it. - You don't like what? - Well, why should Sonny be keeping anything from us? Why should she be keeping a secret with Marx and Phil Terry? - Well, of course, she has known Marx and Terry much longer than she's known us. But we're the ones who are trying to get her out of this mess. - Yeah, it does kind of make you wonder, don't it? When we gonna be able to see Marx. - Well, the doctor's setting up for tomorrow. - Shocked to the rock. - Tom, hey, we ain't expecting no telephone calls, are we? - We can't ask. - Well, yeah. - No, this is Reggie York. - Yes, he's here. - I say Donald Trump. - Hey, Ray. - He's crying. - Yeah, yes, I'll tell him. - Right up. - What's the matter, Reggie? - That was Donald Robert Lincoln. He wants us to come right out to his home. - Well, ain't he got a nice disposition. - He said to hurry, it was important. - First, he has Jack head over the head and flowed into Calibust, and now he invites him out to his home. - Well, come on, we're wasting time. - You mean we're going? - Well, certainly we're going. Grab your hats. - Well, shouldn't we leave a note for Sonny? - She's over at the hospital with Phil, isn't she? - Yes, crying. - Then we need him, brother. We'll have to use her car, though. - Yes, down in front. - All right, I'll say. - Well, what do you suppose this Lincoln feller's got on his mind? - It'll be interesting to see him. - I still think we ought to need word if I were going. - What? - Well, I smell a trap. - Well, whatever. - Yeah, we don't want the Marines galloping up to get us out of a hole. - Mm-hmm, right on. - Here she is. You want me dry, Jack? - All right. - Oh, here, just a minute. - What's the matter? - Let's make sure there aren't any torpedoes planted in the back seat on this right. - Hey, they wouldn't have a goal to try the same tricks twice. - Yeah, you sure are. Up in the back, Richard. - That's right. - Go ahead, slide on the wheel, don't you? - Yeah. - We're not going to a fire now, so take it easy. - Just a back seat driver, it's hard. - Get out of the car! - Man, oh, man. - Oh, it blowed right up in my hands. - You all right, Doc? Anybody hurt? - Don't tell me the automobile ain't dangerous. - Never mind that, what's wrong with you? - I say it! - Here I am! - And you all right? - No, I think so. I got out of the car, but the explosion knocked me flat. - Will you tell me what done that? - Certainly, I'll tell you. One of our playful friends put a load of dynamite under the hood and wired it to the ignition. When you put your foot on the starter, it exploded. - Well, Fally, we're having more fun than anybody. - You think so? - I say, Jack. Is this the reason Donald Robert Lincoln was so anxious for us to come and see him? - Hey, you mean he's the one who had that exterminating powder put under the hood? - Well, that's what we want to find out. Come on. - Where are we heading for now? - Across the park to the hospital. - Hadn't we ought to get out to Lincoln? - Well, this way, shortest. - Well, I said, hadn't we ought to get out? - No. - Okay, Fally, you're the doctor. You come in, Raj, he's correct. - Crowd's beginning to gather back at the wreck. - Yeah. If we're gonna do much more of this hunter guard dashed up, I'm gonna get me a pair of runnin' greats across the street. - Okay. Back to my little yogurt. - We're goin' up the piltaries, Ruth? - No. - You mean we're goin' to Leslie March, huh? - Yeah. - Get in. - Fourth floor, please. (phone ringing) - But if the doctor said "marks" wasn't to be disturbed. - I'd still say "marks" was too slightly hurt for all the fuss that was made. - You sure are said on makin' "marks" the bill unfeltered. - All right, come on. - You know which room "marks" was taken to? - Hell, 432. - And this is it here. - Now we're here, what? - Not a word. I'm gonna see how quietly I can open this door. - Uh-huh. - Got it. - Uh-huh. - You can open it, crack it. Keep your ears cut. The situation is more desperate than it has ever been. - He's talking on the phone. - Shut up. - That's what I've been telling you all along. We've got the fight fire with fire. Got our backs right up against the wall and there's-- - Doc you fool. - Who is that? Who's at the hall? - I couldn't hit it, I'm sorry. - Yeah, a lot of good deaths. - Who is that out in the hall? - Come on. - Hello, Marx. How's the shoulder? - What's this? What are you doing here? - We just came up to see how the latest victim of the Richard Curses is doing. - You were standing outside my door listening. - Were we? - That's pretty dirty politics. That a fever, there's no telling what a man might say when he's light in the head. - Oh, oh, you're light in the head. - Pull it in your shoulders, nothing to take lightly. I have cut myself talking to myself several times. - You were talking to yourself, huh? - What do you mean? - Silent to us is all you were talking over the telephone. - That's ridiculous. I haven't the strength to lift a telephone receiver. - You know what happened to us just now? - When you go away and leave me alone, I'm in no condition to have visitors. - Someone put dynamite under the hood of Sonny's car. We started to take a ride in it and it blew up. - How did you escape? - We saw it coming, rolled out of the car. - Marx, why are you pretending to be so much worse off than you really are? - I'm not pretending. - Yes, you are. - Well, Packard, I'm scared. - Scared? - So scared, I'm going to stay right here in this hospital with a superficial wound until this mob of gunmen is wiped out. - Well, spank me for a baby. - Yeah. - I've been a target for a gunman once. - That's plenty. - Mind if I use your phone? - Go ahead. - Outside, please. Who were you talking to on the phone? - I wasn't. - Hello? Donald Robert Lincoln residents? This is the police department. I want to talk to Mr. Lincoln at once. Thank you. - Why are you calling Lincoln? - I'd rather know what you were about to tell us about Lincoln when you were shot. - And I've changed my mind about that. - Are you not going to talk? - No. - Oh, hello, Lincoln? This is Jack Packard. That's it, the man you had slut and thrown in a jail. I just wanted to tell you that someone just blew up our car so we won't be able to keep our appointment with you. - What's that? - The appointment you called about 10 minutes ago on you? - Oh, you didn't call. - Uh huh. - Can you prove that? - I see. - Thank you. - Mark's Lincoln didn't call us. He's got an ironclad alibi. - Why not about it? - Just this. If Donald Robert Lincoln isn't the man we're after, then it's got to be you. (dramatic music) - Thank you. (dramatic music) (dramatic music) (dramatic music) (dramatic music) (dramatic music) (dramatic music) - The further transcribed adventures of Jack, Doc, and Reggie will come to you tomorrow at the same hour. I love a mystery written and directed by Carlton E. Morse. Comes to you Monday through Friday, featuring Russell Forson as Jack, Jim Bowles as Doc Long, and Tony Randall as Reggie York, Frank McCarthy speaking. (dramatic music) (dramatic music) - This program came from New York. (dramatic music) - The natural broadcasting system presents, I love the mystery. (dramatic music) (dramatic music) (dramatic music) (dramatic music) (dramatic music) - Honey, we'll call him Morse Adventure Thriller. (dramatic music) - Tell you Captain, we've got our man. It's got to be the man. - You haven't got a thing on Leslie Marks, and you know it, Cockett. - He's still a mastermind behind this mob. - This is saying Jack, the captain's right. We ain't got nothing on it. Well, look at the way he acted when you accused him face to face a being the gang leader. - How did he act? - Well, he just put him left in our face. - Naturally. - I'm not through with him yet. I've got Reggie planted up on the fire escape outside his window. He tries to pull anything while he's lying in bed pretending to be badly wounded. We'll trip him up. - If we can only pick up the gunman that shot him, it may help. - You know it won't. We've got seven of them out down behind bars now. Have you been able to get any information out of them? - No. - Certainly not. They just won't talk. And I still say Leslie Marks had himself slightly wounded to turn suspicion from him. - Hey Captain, not to change your subject, but you got any line on infellers that put that dynamite under the hoodest on his car. - We've got to drag net up. - Man, was that an explosion? - No, that's not essential here. They get back to Marks. - Caggard, why are you so sure it's Marks? - He's the logical man. - Why is the logical man? You can't bring forth one single reason. There's not one way in which he benefits by keeping men away from Sonny Richards. - Well, there must be a reason. That's what's driving me nuts. The why? Why is he doing it? Why doesn't he want men around Sonny? Why is he trying so hard to get rid of Doc and Reggie and me? - You tell me why, and I'll personally go up and put handcuffs on him. - Wait a minute. Maybe we're getting somewhere. - Doc? - Yeah? - Go up to Phil Terry's room and ask Sonny to come down here. - Yeah, okay. - Oh, and Doc? - Now what? - If Phil's brother Arthur's up there, bring him down too. Only park him outside until we're ready for him. - Why not? - Now what do you think you're gonna do? - Look, Captain, we're gonna stop looking for the man. - You're gonna do what? - Yeah, for the moment we're gonna forget all about a mastermind. All we're gonna try to find out now is why. - This thing is not turning your mind, is it? - No, look, all we're going to do is to try to dig out of Sonny something that might suggest a reason why someone would wanna keep men away from her. Dig down into her mind. She must have the answer somewhere in her unconscious mind. She may not even know it's the answer, you see? - No, I don't. Will you tell me how you're gonna dig information out of a girl's mind if she doesn't even know it's there? - No, I don't know. - But it's worth trying. - What do you want the kid for? - Arthur? - Well, he knows something and I'm gonna get it out of it. - Something about the case? - Yes, I didn't tell you before, but a little Arthur was the one who sprayed those two torpedoes with buckshot. Those two men who picked up in the basement of that brownstone house. - The kid did that? - Yes, he wouldn't admit it, but I know he did. - Well, then he saved your lives. - Well, maybe. - But more important, I wanna know how he happened to be at the brownstone house, how he happened to have a sawed-off shotgun, and why he went to all the pains of getting out of bed with a broken arm to come to our rescue. - Yeah, it looks like a good bet. - Why didn't you tell me this before? - Well, because I thought... They're waiting in here. - Come on in, Sonny. - What is it now? Doc wouldn't tell me anything. - Shut the door, Doc. - Yeah. - I think you've met Captain Norton before, Sonny. - Yes. - Sit down here, Miss Richards. - Thank you. - Sonny, this is very important. I want you to think before you answer each question. I think. Did anyone ever say to you you must never marry? - No. - You're sure about that? For any reason, whatever, at any time in the past? - Yes, Jack, I'm sure. Not for any reason. - Well, then, did anyone ever express a dislike of seeing you in men's company? - That's an awfully hard question, Rosie. - What? - Well, well, for instance, my father used to say to me that he wished I wouldn't go out with certain boys. And then after father died, Leslie marks urged me not to go around with Phil. - Hey, Dee? - Oh, but that's nothing. Even Phil has said that he wished I wouldn't be seen with certain men he didn't like. I mean, it's so hard to answer because... Well, almost every man that's close to a girl would disapprove of at least one other man. - But none of them disapproved if you're going out with all men. - Oh, no, no, it was just men they personally disliked. - Would you mind answering a personal question? - Oh, yes, if I can. - How many men have been in love with you? - Oh, Captain, that's an impossible question. - Well, all right, let me be more specific. Would you mind naming for us the men who have proposed marriage to you? - Well, that's very personal. - I said it was. Be a man? - Well, Phil, of course. - Well, we know that. - And then, well, there were two boys while I was in college, Hugh Bartlett, Jimmy Pearson. - There in San Diego now? - Oh, no, no, he was back going to Annapolis. Jimmy's got some kind of a job with an oil company in the Philippines. - Well, let's sum up, go on. - Oh, I hate to say this, but Judge Morton. - Oh, Judge Morton, proposed marriage to you? - No, wait a minute. Isn't he the old friend of your father's that fell down your front steps and was killed? - Yes, that happened only a week or two after, he asked me to marry you. - But he was old enough to be your father. - I know, I was a little bit ashamed of it. - Well, Phil, go on. - The only other person was, oh, please don't get the wrong impression. He was very kind and understanding. - You're talking about Leslie Marks, aren't you? - Yes. - I think that's all, Sonny. Any more questions, Captain? - No. - Sonny, I think the case is all wrapped up. You're the same as freed from the Richard curse and now and forever. - You know who's behind all this? - Yes, and now I think we know the reason why. - But who is it? - Well, wait just a little while longer, just a few minutes. - Well, may I tell this much to Phil? - Sure, why not? - Oh, I hope you know what you're talking about. - Let her out, Dak. - You are telling me the truth, aren't you? - Positive. - Oh, that's wonderful, that's wonderful. - Yeah, you want Arthur? He's outside. - Shut the door for a minute. - Well, there you are, Captain. There's your reason why. Leslie Marks wanted Sonny for himself. When he couldn't have her, he went a little crazy and determined to keep everyone else away from that. - It's a reason, all right. But it's not good enough. - Not good enough? - How are you gonna prove it? - I don't need any more proof. - Well, the courts do. You haven't got a single threat of ever-- - Oh, Dak, bring Arthur in here. - You bet you. - All right, Arthur. Come on in, son, and meet the law. - It's all right, Arthur. Come on in, sit down. This is Arthur, Phil Terry's brother, Captain. - Yeah, I've heard about you. How are you, Arthur? - I hate cops. - Oh, do you indeed? - Yeah. - Oh, no, that's just too bad. What have we ever done to antagonize you? - I just don't like you, see. - I'm beginning to. - Okay, now we got that straight. What do you want? - Arthur, why did you take the trouble of shooting those two thugs in the basement of the Brownstone House last night? - I don't know what you're talking about. - You're gonna tell us if it's the last thing you do, so you might as well open up and make it easy for yourself. How did you know those gunmen were gonna take us there? - What gunman, where? - Where did you get that sort of shotgun you used? - I've never even seen a sort of shotgun in my life. - Where did you get that shotgun? - I tell ya. - Where did you get that shotgun? Oh, go take a jump at yourself. - You see, Arthur, we know more than you think we know. We know who the head of the mob is now. - No, no, you don't. - We not only know who he is, but why he's been carrying on this reign of terror. - I don't believe it. - We certainly do. All we're trying to get out of you is your partner. Everything else is all tied up. No, I know you're lying. - What's that? - Sure, because if you knew the head of the gang, you'd know where I stood. Ha, ha, no, everything, huh? You don't know nothing. - Pack it, I think you better let me take this boy down to police headquarters. - You ain't got anything on me? - Shooting two men with a sort of shotgun? - Hmm. - I think we got plenty on you, son. - I didn't, that's not true. - Unless you wanna come clean, you're gonna go with me. - Yeah? - Yeah. - Well, I don't know nothing. - I know those circumstances, young men, you make the city your city. - You're expecting a call, Captain? - No. Nothing. - Hello? Reggie, where are you? What's that? You say, well, say right where you are, we're coming. Captain, that was Reggie. Leslie Marks have been shot to death on his bed. - Hey, what you talking about? - Murder shot in the hallway, come on! - Hey, where did you say that girl Sonny was going? - Well, Sonny, Sonny, what she said she is going to Phil's room. - What's that? - Yeah, Sonny's up in Phil Terry's room. - And Phil, the best news in the world. - Had just come from Jack and Captain Norton. - Captain Norton? - Yes, he's from the police department. He and Jack and Docker questioning people down in the hospital waiting room. - Well, so Packard's called in the police. - But Phil, he's been working with the police sergeant alone. - What are they doing down there? - They're questioning people. - They question you? - Yes, and the strangest questions I ever heard. They've got Arthur down there now. - Arthur? - Yes, and they told me the most wonderful news. - What sort of questions do they ask you, Sonny? - Why aren't you interested in the news? - I ask you what sort of questions they ask you. - Well, mostly about my personal life. First, did anyone ever forbid me going around with men? - Ask you that, huh? - Yeah, and then they asked me for the list of all the men who had ever proposed marriage to me. - Mm-mm, makes quite a list, don't it? With Jack Packard's name at the head of the list. - Well, Phil, I've got something to confess to, you know. I mean, it's all right to tell it now. - What's that? - I'm not in love with Jack Packard. - What's that? - No. I'm sorry I had to hurt you by pretending that I was, but he said it was necessary to make people think we were going to marry. - So you weren't in love with Packard? - No, it was just a trap to draw the fire of whoever has been doing all these horrible things. - Oh, that was it. How come you're telling me this now? - But that's it. There's no longer any need for secrecy. - No. - No, they know who the man is, and they're going to arrest him in just a few minutes. - Who told you that? - Jack, just now. He said to give them a few minutes more to clean up the details. - Did he happen to mention the name of this man? - No, he wouldn't tell. He said in a few minutes. - Yes, sure he knows. - Oh yes, I think that's why he has Captain Norton with him, to make the arrest. - Sunny. - Yes, Phil. - Why shouldn't you know who this killer is? Like the rest of him? - Oh, I don't know. - I think it's a dirty shame holding out on you. - Oh, Phil, I don't know what you mean. - It's very simple, Sunny. I think you ought to know. So I'm going to tell you. - You? You're going to tell. - That's right. If I wasn't a bedridden cripple, I wouldn't have time to tell you because I'd be making my getaway. - But what do you say? - The way things are, there's no possible chance for escape. - Phil, stop talking like that. - Sure, I'm the guy. I'm the leader of the mob. There was a mighty good mob, two until then three boy scouts busted in here. - Phil, it isn't true. - Sure, it's true. I've been head of the mob for three years. And after I was hurt, I kept right on being head of the mob. - Why did you do this to me? What did I ever do to you that you should surround me with murder and heart? - You don't know why. Well, then I'll tell you why. When I woke up in this hospital and saw I was never going to have you, I made up my mind right then that nobody else was going to have you either. - I don't believe it. I don't believe it. - And that still goes, see? - Phil, Phil, Phil, where did you get that gun? - I've been saving it. I knew this had happened sometime. I've been saving it. - For me? - That's right. If I can't have you, no one else is going to have you either. (dramatic music) (dramatic music) (dramatic music) (dramatic music) (dramatic music) (dramatic music) - The further transcribed adventures of Jack, Dark, and Reggie will come to you tomorrow at the same hour. I love a mystery written and directed by Colton E. Morse. Comes to you Monday through Friday featuring Russell Borsen as Jack, Jim Boles as Dark Long, and Tony Randall as Reggie or Frank McCarthy speaking. (dramatic music) - The natural broadcasting system presents "I Love the Mystery." (dramatic music) (dramatic music) (dramatic music) (dramatic music) (dramatic music) - On the old Carlton Morse adventure thriller. (dramatic music) - Leslie Marsh here is there this time. How did happen, Reg? - It was so fast, it was all over before I knew what was going on. I was watching outside his window on the fire escape. Marks was sitting up in bed talking on the phone. Well, suddenly the whole doorway there whipped open and a hand holding revolver poked through and, well, that's all there was to it. - You didn't get a look at him? - No, Captain. Nothing but the fist with the gun in it. - Well, the hospital surrounded no one who can't be positively identified as laughs with the police lines. - What's the matter, Jack? Marks kicking off seems to have knocked you all in heat. - Yeah, it has. - I never thought he is such a good friend to ours. - Friend nothing. I'm up a stump. All my theories have been knocked into a cocked hat. - It's crying. Now we know Marks isn't the mob leader. - Cavill packet. I wouldn't touch on the thing until the medical examiner arrives. - Yeah, wait a minute. - Well, what's the matter, fella? - Captain Norton, there's an envelope in Marks per Jama pocket. - What's that? - Might throw some light on the situation. How about getting it? - Let it out. Yes, of course. - You have to turn the body over a little. - Uh-uh, not any more than necessary. - All right. Easy with them, Doc. - Yeah. - Hold it. I can reach it. Hold it. - You got it? - Yeah, let them roll back. - What can I say? - It's a sealed envelope. - Well, we'll see about this. (camera clicking) Now, what about it? - Well, listen to this. To whom it may concern. In case of my sudden demise, be it known that the estate of Sonny Richards is intact and in good condition as the records of my office will testify. If I have in any way appeared violent and desperate of later was for no other reason than sheer nerves. I'm not a brave man, and for the past six months it has seemed to me I've been staring death straight in the face. I've seen those close to Sonny. Die right and left and always expected with my turn next. I don't know why this has happened or who was doing it. My first impulse was to turn Sonny to state over to the court and get out, but I couldn't. I was afraid to stay on, but more afraid to admit I was a coward. Since I've been attacked once before, there's every reason to believe I'll be attacked again. Next time, probably fatally. So I write this letter, Leslie Marks. - Dally pathetic. - Jack, you sure enough had Leslie Marks all wrong. - It looks like it. - Oh, under, I'm getting it. - Hello, I'm crying. - This is right here. I kept noting it's one of your men. - Oh, thanks. - Hello? - Yeah, you got him. Good, bringing right up here. - Yeah, your marks room. - Fine. - What's that? - I see. Cleaned out the place, eh? That's good. Tell Mahoney to book 'em in Kamilocado. - All right. - Caught our gunman. - I'll say they caught him. Got 'em trying to get through the lines and then turns white to the phone. - We're trying to play it smart. - But that's not all. The plain, closed men raided the service garage. - The garage where Donald Robert Lincoln's car was stolen from? - Picked up four men wanted by the police for a long time. - Hey, you police boys are doing all right. - Well, you're just about to round up the whole mob, Captain. You already have seven in the clank. Mr. Pete, you picked up downstairs and the fourth, the garage, make 12. It's a pretty good-sized gang in itself. - I'll say I'll accept the leader. - Yeah, man, we really want it. Look, Captain, you don't need us for the moment. I'd like one of you to stay. How about it, Reggie? - I don't. - All right, come on with me, Doc. - Ms. Sure, where are we heading for now? - Down the hall to Phil Terry's room. - His son, he's there. - I know. - I hate to have to break the news of Mark's death to her. - Yeah. - She believed in him right state, too. - Well, quicker she knows about it, the quicker she'll get over it. - This is it, yeah. - Hey, son is crying. - Come on. - Hey, Jack, Jack, Phil Terry, he's got a gun. - Yeah, so I got a gun. Now you don't, come away from that door. - What's all this about? - Close that door, I can-- - Sure. - Don't try to run for it, because if you do, I'll drill Sonny right through the hide. - You'll kill Sonny. - Yeah. Now close an arm. Come over and line up alongside Sonny at the foot of the bed, both of you. - Yeah, sure. - So you know who the leader of the mob is? - Who told you that? - Sonny did. Told me everything, didn't you, Sonny? - I would show her death. I don't want to live. - Well, don't worry, Sonny. I'm going to take care of that, too, along with your two boyfriends here. So Sonny told you that we knew the mob leader. - Yeah, what's so funny about that? - Nothing, when it looks like you've gone off half-cock. - Yeah. - Yes, you see, when we told Sonny that, we thought that Leslie Marks was the man. - Marks, huh? - Yes, never occurred to us that you were the man that we walked into this room just now and found you so hot and bothered. - I see. So I played a dumb. - Yeah, that's always the way it is with the smart boys. - So earlier, they make that one big mistake. - That's the answer. - Okay, okay, I could take it. - Cuttings for me. - But cuttings for a lot of other smart guys, too. - Oh, goin' to shoot us like dogs, huh, fella? - Oh, that amuses you. - Not very much. Good look, you feel. I can see why you might be mad jackin' me. But what did you want to go botherin' Sonny for? You ain't never had no better friend than son. - Oh, please. - What do you think all the shooting's been about? - How you mean? - When I came to win this hospital and found I was never gonna have Sonny, I promised myself nobody else was gonna have her either. - And that just about explains everything. - Yeah. Now that I'm washed up, I'm still gonna see that nobody else has Sonny. - Uh-huh, I get you. - Tell me Sonny, Phil. Well, did you organize your gang after you were brought to the hospital? - That's a pretty dumb question. How can you organize a mom in a hospital? - Then you were in the business before. - That's right. But Sonny said you was a pro at the golf club. - Sure. Swell blind and he cooked me right next to the best people. - One more question. The death of Sonny's parents in that plane crash was none of your doing. - Nah, nah, it was an accident as far as I know. And your own auto wreck was an accident? - That's right. But all the rest of the deaths were the work of your gunman. - Correct. - Well, guess that's all. You got any more questions, Doc? - Nope. - Sonny? - Well, here we are, Phil. - Ooh. - Yeah, as you say, here you are. All lined up in a row. I ain't shot a rod since I've been in this place. But I guess I'll do all right. - Yeah, and at six feet, you should ought to be terrific. Who's that? - Hello, Phil. - Awesome. What are you doing here? - Wasn't you expecting me? - What are you doing with that rod? - Well, you've got one, Phil. We're brothers, we're just alike. - Didn't I tell you the next time I caught you? - Sure, Phil. Only this time it's different. - Yeah? - Yeah. I've known for a long time you was head of that mob. That was all right. I knew you were having folks pumped off. It was all right, too. But I kind of took a liking, the Packard and Doc Long here. - Yeah? - Yeah, that's why I took that sawed-off shotgun down to the brownstone house and blasted two of your torpedoes. - Yeah, yeah. I was afraid that's how it was. - Sure. - That wasn't all right. And no matter how I acted, I think Sonny's a swell girl. So what you got in mind now ain't all right either. - Boy, you little sawed-off meeting me. - Man, you ain't ever gonna slap me around or choke me again, Phil. I don't hate you, Phil. I wish I wasn't gonna do what I'm gonna do with. - Oh, I wish you was it. This one, brother, I like to be proud of. - Oh, I think so. - Hello, I mean, okay. - Now, lucky, Arthur, you two fellas are- - Shut up! Come on, kid, get outta here, beat it! - No! - I'm warning you. Beat it to my Phil! - Oh, no, no! - Whoa, get Terry's gun back. - I got it. - Arthur, Arthur. - That's all right, sir. He's gone. Jack, come over here to bed. Phil's going fast. - What's that? - Yeah. - Little Arthur wasn't such a bad shot himself. - There, let's see. - Oh, let me alone. I'm washed up. Huh? How about Arthur? He didn't know what he did. - Yeah, crazy little punk, I guess. - Oh, he's told him I'd make a man out of him. - We're killing Terry. - Looks like you did both, fella. He sure was plenty of man for my money a minute ago. - Well... So long. (gentle music) (gentle music) - There's no colors over again, I think. Right there, oh. All right, all right, well that fella, this is what I call a airplane job. Boy, it did, ain't it? - Well, that's how we can do this afternoon. I tell him it's a fast sixth law. - Oh, it's called a day. Come on down, Reggie. - Right now? - Well, here she is. Our very own airplane already first. Boy, you don't seem any time since we was a grassing around because we had to wait two weeks for the factory to get ready. - Now, these last two weeks have passed in there, haven't they? - Well, roll your sleeves down, Reggie. It's over tonight. - I think we'll be ready to take off by tomorrow afternoon. Don't you, Jack? - Ben, look out Central America. - Well, we can't get out of San Diego. Any two passed to suit me after what happened last night. - You mean, Phil and Arthur using each other for cute and dark? - And he's cried. - Forget it. Every time we get away tomorrow, Reggie will have to finish up the work on the plane. - Excuse me? - I could send you together clearance papers for the ship and see them on passports. - Yeah, I'll get them out and dust them off. - Phil, I don't know when I've been to head up. - Sit, Phil, America, don't go. - Good, Tom, it's a bit of adventure, doesn't it? - Yes, sir. You're in it. Don't-- - What, say? - Hey, that's Sonny's ball. - And what's she doing up here at the airport? - Hey, Sonny, here we are. - I thought I'd catch you off here. - Joe, I hope there isn't any more trouble. - Hello, boy. How's the plane coming? - Fine, fine, we're pulling out tomorrow. - Oh, I see. - Why, is there anything to matter? - Very much the matter. - Yeah, well, what? - Please. - Well, what do you mean, you? - What do you think I mean? You're going to pull out, and I'm stuck here. You think I like this place any better than you do after what's happened? Phil and Arthur and Leslie, Mark? - You're trying a bit like a morgue. - Yes. Would you three have been so swell to me? I know it's an imposition, but I just couldn't help asking one thing more. - Well, let's have it, fella. What do you want? - Oh, take me where you are. - Oh, look here. - Hey, we're going down into the Central American Hill. - I can't think of any better place to forget than you. Aren't you, please? I'll pay my way, and I won't be any bother. I mean, just because I'm a girl won't matter. Anything goes what I don't like, I won't see. - Oh, no, I don't know about that. What do you think, Jack? - Well, we could use some more money. Yeah, we are going to be kind of short a doe when we get all our equipment. - Oh, look here. - Oh, please, please, you mean you'll consider it? - Why not, if I can register you. - Well, it ain't the way we planned it, but it is, you say, why not? - Regie. - Oh, I say, yes, girl. - Regie, are you going to, oh, oh, oh. - Oh, I say, you're not going to cry. - I am too. I'm so disappointed. - But I haven't said you couldn't go. Oh, look here, will you stop those volunteers? - Then I can go. - Yes, crying, but I bloody well don't like it. - Oh, Regie, you're wonderful. - Mr. 50. - Regie, son. - Well, what? - Dog gone, fella. But you sure are a sucker for wings. (dramatic music) (dramatic music) (dramatic music) (dramatic music) (dramatic music) - Further trans guys, it's not you. The Jack, Doc, and Regie will come to you tomorrow at the same hour. I love a mystery written and directed by Colton E. Morse. Comes to you Monday through Friday, featuring Russell Forsen as Jack, Jim Bowles as Doc Long, and Tony Randall as Regie York, right for Taipei Speedy. (dramatic music) - This program came from New York. We hope you enjoy the audio groove cast series of "I Love a Mystery," the million dollar curse by Colton E. Morse, as well as our look at Tony Randall. One note before we conclude our series, this show leads directly into "I Love a Mystery's Classic" Temple of Vampires, where Jack, Doc, and Regie pick up their new plane, and along with Sunny, head down to South America for some new adventures. Thank you so much for listening, and we'll see you next time on "The Groove Cast." (upbeat music) (upbeat music) (upbeat music) (upbeat music) - Audio groove cats. (upbeat music) Now, you seem to me to be a connoisseur of the best of radio drama, in which case, make sure you're subscribed to the Monday matinee feed. There we have our weekly series of dramatic, theatrical, classic, eclectic, and live radio drama. - So, yeah, either the main mutual audio network feed for all types and genres of audio drama, or the Monday matinee, and we'll see you there. - The mutual audio network, listening and imagining together. (upbeat music) (electronic music)
We conclude our "I Love a Mystery" "The Million Dollar Case" as Jack, Doc and Reggie get to the bottom of the mystery.
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