The plot thickens as Jack, Doc and Reggie work to solve the mystery of the Richard Curse
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The Mutual Audio Network
Audio Groove Cast #6: I Love a Mystery(072124)
(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. Welcome to Sunday's 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 continue to listen to I Love a Mystery, The Million Dollar Curse, written by Carlton E. Morse. The plot thickens as Jack, Doc, and Reggie try to solve the Richard Curse and free Sonny from the generational burden she carries. But before we play tonight's episodes, let's talk for a minute about the amazing actor who plays Sonny, Mercedes McCambridge. Born in 1916 in Joliet, Illinois, she would go on to be a prolific radio stage, film and television actor who Orson Welles dubbed the world's greatest living radio actress. McCambridge won an Academy Award for Best Supporting Actress for her screen debut in All the Kings Men in 1949 and was nominated in the same category for Giant in 1956. She also voiced the majority of dialogue for the demon Pazuzu and the exorcist in 1973. Her radio credits are vast as she appeared in such classic programs as Lights Out, Inter Sanctum, Alfred Hitchcock Presents, and many more, including reprising her role as Sonny in I Love a Mystery's classic series, Temple of Vampires. Some of her television roles include Lost in Space and Bewitched, and she also appeared on stage many times, including a road production of Cat on a Hot Tin Roof with John Carradine. McCambridge died of natural causes at the age of 87 on March 2nd, 2004. So sit back, grab a nice set of headphones, and enjoy episode six and seven of I Love a Mystery, The Million Dollar Curse. (dramatic music) - The digital broadcasting system presents I Love the Mystery. (dramatic music) (indistinct chatter) (dramatic music) (dramatic music) (dramatic music) (dramatic music) - They all call him most adventure thriller. (dramatic music) - I came over ahead of the other's failure. - So I see. - Yes, I can understand why you might want to see me and your brother either, but why Jack, Doc, and Reggie? - Never mind why, Sonny, I just do. - But you're not strong. - Will you cut that kind of talk? - I know I'm an invalid, if you don't need to rub it in. - I'm sorry, and another thing feel like I don't think Arthur will be here. - He'd better be here. - But there's, there's something I haven't told you. - I sent word for the kid to be here. Did you tell him? - Oh yes, of course, but he-- - Then he'll be here. You got them three fellas living at your house out here. - You mean Jack, Doc, and Reggie? - Who else? - Well, yes, I told you they were staying at the house. - It's kind of funny, they're moving in on you like that. - Well, I'm glad you can talk about it sensibly, Phil. I just told you all about it together, and I don't think, well, you got so angry with Jack. - You're in love with him, sure enough. - Yes, Phil, I am. - You gonna marry him? - I'm sorry, Phil. - You are, huh? - Yes. - You don't care how you're still blood, do you? - Oh, Phil, how could-- - In fact, ain't it? You're laying this Packard Romeo wide open for the curse. You're giving him the works. - No, that's not fair, I've got a right to be happy. - Yeah, and I've got a right to be walking around on two sound healthy legs, but I'm not laying here in bed. I'm gonna be laying here from now on. - I didn't hope because of the Richard curse. - And all I hope for your Jack Packard is that he goes out quick. Wouldn't wish what I got on nobody. - No, no. - Forget it, they're coming. - I don't hear them. Nobody is. They're coming. - Coming. - Go ahead, I've got the wheel chair. - Wheel chair. - Hello, Sonny. How are you, Phil? - What's this about a wheelchair? - Arthur insisted on coming over, so we put him in a wheelchair. - Arthur? - There we are. Didn't bump you very much. - Hello, Phil. - Hey, hey, punk, what's the matter with you? - Nothing but a busted arm. - But you shouldn't have come, the doctor said-- - No, it's now, wait a minute. What's going on here? How'd you get a broken arm? - I was going to tell you, Phil. - I don't want you to tell me. Wanna hear the kid's story? - I try to cross the street. Car come around the corner and smack me. - Is that all? - Yeah. - Arthur, son, I want you to tell him everything. - That is everything. No, fella, that ain't everything but a whale of a lot. - Well, then, suppose you stole it. - Sure. Last night, Sonny here had that attorney fella marks and Arthur to dinner with us three. After dinner, your little brother got nasty and pulled a gun on me. - What's that, sure? - I had to smack him down and take it away from him. - You blasted little foolie. - So what? - What were you doing with a gun? - Weighing him over here beside the bed. - All right, Phil. - That's me, kid. What were you doing with a gun? - I found it. Oh, Phil. - What were you doing with a gun? - I found it. - Oh, no, Phil. - I wouldn't take that from nobody else, Phil. - He ain't feeling so good, fella. - I wouldn't hit him no more. - Your and I'll settle this between ourselves, punk. - Yeah, well, to go on with what I was saying, after our little breakers, Arthur here slipped out of the house and I'd tailed him. He caught sight of me down the block and tried to dodge across the street. And that's when he got smacked. - Why'd you follow him? - Well, see, he got home safe. - Didn't do a very good job of it. If you're through with Arthur, I'd like to ask a question. - All right, Packard. You asked for us all to gather in your room here. Why? I hear a man was shot out in front of Sonny's house last night. - You hurt? - Sure. Right across the park from the hospital. How could I help hearing? Everybody was talking about it over here. It interests you? Sure, why? It sounds like the Richard Curse got another victim. - No, no, that's not true. - And being a victim of the curse myself, I got a fellow feeling for the other victims. - They're seen. - Who was he? - He said his name was Fish Evans. - Ever hear of him? - No. - He was a bum. But more important, he was found out in the park with the gun that almost shot my head off the night before last. - Well, that's interesting. - Yes, we thought so. He was drunk, so we held him until he sobered up. He got his story and turned him loose. He only got as far as the sidewalk and somebody got him was sawed off shotgun. - Hold up, huh? Hold up, men, don't use sawed off shotguns. And speaking of shotguns, less than half an hour before Evans was killed, we found a sawed off shotgun in the hall closet over at Sonny's house. - Back, you caught? - That's right. And after the shooting, we weren't looking for the gun. It was gone. - What are you getting at? - Well, Arthur here brought one gun into the house that we know of. We're wondering if maybe he didn't bring the shotgun in, too. - Hey, what you trying to do, tie a murder on me? - Is that what you're trying to do, Packard? Tie a murder on a kid? No, I'm just asking. - Arthur, well, did you have that shotgun? Would you believe me if I said I didn't? - You say you didn't, and that's good enough for me. - You know I didn't. - If you say so. - I say so. - Even if he did, he couldn't have killed that Evans man because he was upstairs in bed with a broken arm. - But he was up there alone. The doctor had gone and you and Marx had come downstairs. - Leslie Marx was there? - Yes. - What about his alibi? - He says he was in the library. - Alone? - Mm-hmm. - Where were you, Sonny? - In the kitchen? Fixing some medicine the doctor had given me her Arthur. - And Leslie Marx is too smart for his own good. - We've thought about that. - You're mad to think Leslie would do a thing like that? - What about these three, Mugsville? - Arthur, is that nice? - Yeah, what about you three? You were the last to see Evans alive. You admit you had access to a shotgun? - You just have to take a word for it that we didn't kill Evans. - How about the police? - Are they willing to take your word for it? - Well, they heard our story. If I was a police, I'd think this whole setup looked mighty funny. They didn't indicate they thought it was funny. They give you a clean slate? - No. - No, we're under suspicion like everyone else. But they haven't any evidence to give them reason to lock us up. - They might get it yet, they might. If there was any to get. - Please, Phil, you're looking awfully tired. You better go to sleep and let us go back across the parts of my house. - What's a hurry? - Well, you're tired and Arthur shouldn't be up with that broken heart. - I'm doing all right. - I'm not through yet. - If I say old chap, you do look a bit ill. - Keep you simply to yourself. - Well, here, I didn't mean you. - I know what you mean. Drop it. - Quiet. - Packard, yeah? Sonny tells me you were announcing your engagement. That's right. You're pretty brave, man. Why don't you think so? I was engaged to Sonny. Look at me. I think it's pretty rotten to you to keep throwing that up in Sonny's face. No matter what condition you're in. - Please, Jack. - And I've got just this to say before we drop the subject. In the first place, I don't believe in curses. Second Sonny's worth any trouble she might bring along with her. All I want is Sonny. I'll take my chances on the rest. - I get it. - Then let's drop it. - Well, first, I want to apologize. - Mm-hmm. - What about? What I said the other night, I don't recall. I said, if the Richard Kirst doesn't get you, that I would laugh. They were excited upset. Yeah, I was upset. It was a full thing to say. Why should I lie here worrying about how to get even with you when the Kirst will take care of all that? - Yeah. - And it will, too. - You keep out of this, punk. - It's like it got you, Phil. - I told you to shut up. - Sure. - Just soon that arms, well, you're coming over here and take what's coming to you for packing a gun, you understand? - I'm not a kid anymore. - Well, I say y'all, if I ever hear of you with a rod again, I'll call in a couple of cops and let them switch it from now on. Now then take him out of here. I've had a life. - This is the room. Come on, boys. - Hey, what is this, an invasion? - What do you three policemen want? - Well, take it easy, Mr. Terry. We won't be bothering you for long. - This is a private room. - Sure. - Me and my two boys here got a job to do. - What sort of a job? - Orders from headquarters to pick up these three men. - Oh, okay. - Which one of you is Jack Packard? - Oh, I am. - Doc Long. - That's me, Phil. - And Reggie York. - Right. - They want you down at headquarters. - Now, what do you suppose they want us down there for? - The fish Evan's murder. - That's nonsense. We've been with the police most of the day telling us story. - It seems like they don't like your story down at headquarters. - Well, it sure took 'em a long time to make up their minds. - Ban 'em, sweetie. - We're not carrying any weapons. - Don't tell us. - Don't let us find out for ourselves. - I say, a bobby with a sense of humor. - What'd you call me? - Or take it easy, Bobby's Johnny Bull for cop. - But you're going to lock 'em up? - None of 'em's healed, Sarge. - Is that what you're going to do? Lock 'em up? - Not for long, Sonny, don't worry. - That's what you think. All right, come along with you. - Or Jack, I don't think we got no reason to go down to the no police station. - We can give you a reason if you want it that way. - Forget it, Doc. - You mean we're just gonna march along? - Yes. - I ain't here to policeman and I don't know how long. - Look, you feel something hard and cold in your bank? - Yeah. - It's a cannon and it shoots. - Well, don't jab so hard. - I'm ticklish. - Take 'em on, boys. - Just a minute, Sergeant. - Yes, Mr. Turin. - I wanna say something to Packard, hm? - Say it. - Packard, you recall what I said about relaxing and letting the Richard curse take care of you? - I do. - Well, I'm beginning to relax. If you've got anything to say to me, say it. I am saying it. Be rather funny if the Richard curse should take you three boys to the gas chamber up in San Quentin. Wouldn't it? - Phil, Phil, you don't mean that? - Destroying three of you at one blow. That'll be some kind of record, even for the Richard curse. (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 Call to Nemours. Comes to you Monday through Friday, featuring Russell Porson as Jack, Jim Bowles as Doc Long, and Tony Randall as Reggie York. Frank McCarthy speaking. (dramatic music) - A natural broadcasting system presents I Love a Mystery. (dramatic music) (dramatic music) (dramatic music) (dramatic music) - Cross the lobby with you. One bad move, you're all washed up. - Take this down to jail, huh? - That's right. - I don't mind saying I jolly well, don't like that gun pressed against my son. - You'd like it a lot less if it goes off. - That's a sweet thought. Hold it, open the door, Packard, right? (dramatic music) Lead the way, Sweeney. - Come along, you, down the steps with you. (dramatic music) - Now then, across the street. (dramatic music) I don't see any police car. - Cives across the park. - You mean in front of Sonny's house? - Yeah. - We stopped there for you. Found out you'd gone over to the hospital. Now then, through the park. - First time I've had a chance of taking an errand with an escort for a long time now. How much you get for acting as a fella's bodyguard, Sweeney? - You talk too much for your own good. - No, but, honest, fella, did you like being a policeman? - I do that, and I get a chance to pick up such as you. - Oh, now I ain't such bad, fella. You might even get to like me, if you know me. - I have my own opinion on that. Keep marching. - Sure. What's the matter with your car for, Reggie? - Ain't heard a word out of him. - He hasn't said anything. I think he's got leadin' Jaitis. - Yeah? - Well, what makes you think I am? - Well, he's got a woolen cloth about his neck, and he smells violently of turpentine and carc medicine. - Learn Jaitis, huh? - Crown, I've been telling him. He should be home in bed, but the lighter doesn't appreciate my sympathy. Oh, I'm sorry. What's the matter? He really doesn't appreciate my humor, either. He keeps jabbing a dally, gutting my ribs. - All right, this is it. You mean this car under the street lights? - That's right. Open the back door, sweetie. - But this isn't a police car? - You don't say. - Look here, there's something phony about this. - You mean these birds ain't police me? - Get into that back seat. - What about it, Jack? - Yes, get in. - Put it, this is a prima. - Get in. - Follow 'em in, sweetie. - Sure. - Here, you, sit in the middle, I'll take the outside. - Suits me. - Ah, you'll lie me. - Jack, if this isn't-- - Get in, Reggie. - Follow 'em in, work. - Well, anyway, Reggie, you and me get to ride next to each other. Is that important? - Well, anyway, I like backseat riding best myself. All snug is four dog-gone bugs in a row. - All right, Packet, in the front seat. - Suits me? - Keep your other gun on him while I get under the wheel, sweetie. - He's covered right up to his eyes. - Take it, we're going for a nice, slow ride. - Take it or leave it alone. - You know, Jack, if these three home bays sure enough ain't cops, it looks to me like we've got a mighty interesting ride ahead of us. - Looks like it, all right. Keep the gun on him, sweetie, until I get the car under way. - It's as good as done. - Hey, ask him up there if he's a good driver, Jack. - No, here we go. [MUSIC PLAYING] - Smooth running, boss. - All right, sweetie, I'll take care of Packet up front here. - He's your boy. Whew, your feller does smell a turpentine down, he rides. He's smelling up the whole car. - I'm not mistaken, this road takes us out toward the desert. - You ain't mistaken, mister. - I thought so. Three bodies buried in the sand out there probably would never be discovered. - Jack, don't talk like that. - What's that? - Well, that's something I don't ever want to be, the undiscovered car. That Texas boy's just full of bad jokes, Eddie. - Doc, don't mind him, he's worse than a leaky faucet. - You boys look to me like part of a pretty well organized gang. - We're doing all right. - You wouldn't find a chance to know a man by the name of Leslie Marx, would you? - Oh, Leslie Marx, attorney. - Yeah, yeah, yeah, I've heard him, I'm not surprised. It's like a pretty smart operator. You'd think he'd make a great mouthpiece for a gang. - I'll tell the boss. - He wouldn't be, boss, find a chance, would he? - What do you mean, Marx? He wouldn't be the big gang boss in these parts, would he? - Got a great front port. - You're nuts. - Well, there's no one I'm an asking. - You can't think of any. - But what's your racket? This doesn't seem to me any sort of a town for an organized gang. - You got me, buddy. - You mean you don't know? - I don't know nothing. - Let's see. - Of course you're close to the Mexican quarter, I suppose there's money in smuggling, and then this is a seaport. - Boy, talking, it's only your breath you're wasting. How are we coming, Jack? - We're getting out into the great open spaces. - Ah, huh? - I say, how about opening some of the windows? I'm getting bloody sick of breathing turpentine, too. - Leave the windows like they are. - Oh, spoiling my whole ride. - Grandeur, I bet you if we is a touchy match to your bodyguard, he'd burn like an all-well. - Or you could attach a pipeline to him and furnish Southern California with natural gas. - Oh, I say, all-well, I'm getting done. Well, put up with you jabbing me with that brute of a gun. - Heh heh heh heh heh heh. - He'd burn came to man to take a joke kindly, at least wise, not when it's on himself. - I'm beginning to notice that. - We're really out in the desert now. Haven't seen a building along the highway for the past five minutes. - Price in any automobiles? - No. - There's a car on our tail, though. - What's that? - I don't know. Been there ever since we left town. - I'll take care of that. - Whee! Look, he had us goin'. - Heh heh heh. Leaving it behind like it was standing still. - This car's got an engine in it, all right? - I say the other car's out of sight already. - Doc, Reggie, can you hear me? - Yeah? - I don't. - Get ready for the worst. - Why'd you say? - I told him to get ready for the worst. - Why do you mean by that? Keep on going like this, and almost anything's liable to happen. - Such is what? Such is this. - Hey, buckle, I'll wheel you! - Look out, Doc, Reggie! Hey! - No! - No! - Hey! (car beeping) - Ah, oh boy, oh boy, oh boy! Doc, Doc, you all right? - Jack. - Huh? - Did you, honest and truly, go for direct this car? - Yes, I yanked on the wheel. - Son, you had never undo that. - Well, this here's the way folks get hurt. (car beeping) Ah, you see, Reggie? - Huh? What do you mean? Isn't he? Back there with you? - Valor? In this bus, this bus done its first flip flap. Reggie zoomed out of here like he shot from a cannon. - Well, let's get out of here and find him. - Ah, I reckon I'm gonna need some help. What about these other guys? - Well, they'll have to look out for themselves now. Cause we're inside. Can't you climb out through the back door? - Ah, nope. Door's game. - Uh-huh. Well, climb over in the front seat and I'll give you a hand. - Okay. There. Ah. Ah. Oh. Ah, I stepped right in the middle of the driver. - He didn't notice it. - Yeah. Sleeping like a bait. - Be careful at broken glass. Now, up with you. - Yep. - Ah. Ah. There we are. Ah. Ah. Ah. Ah. Hey, Jack. There's a headlight so that car that was a following us, so we are under in the highway. - Never mind that. Find, Reggie. - Yeah, he should oughta be over this way. - Oh. Is that you over there, Jack? Hey, Jack. It's funny. - Sunny, what are you doing out here? - Jack. Just what happened? - I told you what you were doing out here. - I told you what you were doing out here. - I followed you. The minute those three policemen took you boys out of Phil's room, I followed. I thought they were going to take you to the police station. - Well, they weren't policemen. - They weren't. Jack, what are you looking for? - Reggie. - Oh, is he hurt? - I'm telling you better when we find him. - Hey, Jack. Hey. Here he is. - Oh, come on. - Well, you see. You see the horrible things that are happening to you already from associating with me. - That's stupid. Here. This way, Jack. - Obviously, Doc, can you tell? - He's knocked out, all right. But he let in. He's here bushes. I don't think there's nothing broke. - Oh, I hope not. - Yeah, let me see. - What the heck are you doing out here, son? - I trailed you. Who were those minutes they weren't policemen? - Gun, tote, and gangsters. Huh? - How's he doing, Jack? - Just stunned. He'll be around a minute. - Are you sure? - Certainly, I'm sure. Well, I have to say, Sonny, is that the Richard curse is pretty impotent curse to let us get away like this. - Well, what do you mean? - Well, look at the material I'd had to work with. He'd be gunmen with murder in their hearts, one of the best auto wrecks of the year. A really potent curse would have had us dead and buried by this time. - Yeah, and look at it. Just one of us with a little old bump on his head. - Well, you mustn't say that. You mustn't challenge fate like that. - Well, only. Come on. Let's have a look at the boys in the car. All right, to leave Reggie there? - Yeah, let's give him a few minutes to come around. - But who are these, these gunmen? - I guess as good as ours, Doc, I'm going to crawl back in the car and hand the bodies out to you. - Okay. - The thing we didn't catch fire. - I still don't understand why gunmen wanted you three. - Well, why don't you let us worry about that, honey. Are you inside, all right, fella? - Yeah. Here comes the driver. - Okay. - Oh, he's got some broken bones. - Ah! Got him. A meaty guy for his size. Ah! Ah! Ah, I'll lay there for a minute. - He's not dead. - No, ma'am. Just chewed up, little. - Next. - Let him come. Which one's he? - Sweeney. - Got it? - Yep. - Yep. - Come on, Sweeney, old kid. - That trip ended up kind of different. You expect it, didn't it? - Ah! Ah, that's it. Lay down there. Inside your pal. - Can I do anything? - I don't reckon. These fellas is going to need the attention of an expert. - They're hurt seriously? - Well, they ain't been done no good. - Ready, Doc? - Well, this would be ol' Hernandez himself. - Well, I got him. Ah! Ah! - See, you fella. Now that you're unconscious, you're exuding turpentine worse than when you was cakey. - Yeah. Yeah, that's over. - What do we do now? - Load that cargo into your car and get 'em to a hospital. - And that's a job at Toton. I wish Reggie had come too so he could give us a hand. - Hey, hadn't we got a hurry? Is there any? - All right. Stick up your hands, all of you. - What's that? - Hey, Jack. - We got this too. - You heard me? - I'm gonna move out of any one of you. - Guns and everything. - Yeah. Now, what you suppose this is for? - But there must be some mistake. - Keep out of this, sister. - What's the idea? - We came out here tonight to bury you, Mugs. And burying's what you're going to get. - I'm gonna move out of the way. I'm gonna move out of the way. - 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 Porsen as Jack, Jim Bowles as Doc Long, and Tony Randall as Reggie Orr. - Right, look how he's speaking. - We hope you enjoyed this installment of Audio Groove Cast and I Love a Mystery, The Million Dollar Curse by Carlton E-Morse, and our look at the amazing actor Mercedes McCainbridge. Come back next time when we continue our story. [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] - Thank you for listening to Sunday's showcase on the Mutual Audio Network. We invite you to continue the amazing audio tomorrow on Mutual with the Monday matinee. Our weekly series of dramatic, theatrical, classic, eclectic and live radio dramas. You can subscribe to the full Mutual Audio Network feed every day for the world's largest curated collection of audio drama, or find the Monday matinee feed in your favorite podcast players. See you tomorrow at the matinee and thanks so much for listening. The Mutual Audio Drama Network, where we listen and imagine together. [Music] [Music] (beeping)