Episode 42: The Thing That Cries in the Night, Parts 10–12

[00:00:16] Speaker A: The Mysterious Old Radio Listening Society Podcast welcome to the Mysterious Old Radio Listening Society, a podcast dedicated to suspense and horror stories from the gold golden age of radio. I'm Eric. [00:00:33] Speaker B: I'm Tim. [00:00:33] Speaker C: And I'm Joshua. This week we continue our summer serial with the Thing that Cries in the Night from I Love a Mystery. [00:00:40] Speaker A: I Love A Mystery was an adventure serial created by legendary radio writer Carlton E. Morse. It ran on NBC from 1939 to 1944 and was revived on the Mutual Broadcasting Network from 1949 to 1952. The thing that Cries in the Night is one of only two serials that exist in its entirety and is from the second run out of New York from 1949 to 1950. [00:01:04] Speaker B: The advertisements for the show that ran in the newspapers read do not fail to listen to the exciting program I Love A Mystery. Carlton E. Morse's hair raising teeth chattering thrillers that have all America on the edge of its chair. And they did. Many believe it to be the greatest radio adventure serial of all time. [00:01:22] Speaker C: Even though it was so popular, no one thought to save them. Almost all the episodes are gone, hardly any recordings were saved. What we have left are fragments of episodes from various serials and only two complete series, you're Dead, Arizona and the one we are listening to, the Thing that Cries in the Night, both of which are from the later run, 1949 through 1952 on Mutual, where they redid the scripts from the original series running 1939-1944. [00:01:51] Speaker A: There are two series that are in whole but are partly recreated. Temple of Vampires was recreated by some people just like us old time radio nerds. Half of the episodes exist of that series, the other half are recreated by these radio buffs. You can listen to it anywhere on the Internet and they did an incredible job. It's almost flawless. [00:02:11] Speaker C: The other complete series is Fear that Creeps Like a Cat. Every single episode was recreated by friend of Morse and radio historian Jim Harmon with the blessing of Morse himself. However, when finished, Morse did not approve of the final results. [00:02:26] Speaker B: And now, episodes 10, 11 and 12 of the Thing that Cries in the Night from I Love A Mystery, originally broadcast in November of 1949. [00:02:35] Speaker A: Forget the petty distractions around you. Forget what you think you know. Forget everything but what you hear. Right now it's late at night and a chill has set in. You're alone and the only light you see is coming from an antique radio. Listen to the sounds coming from the speaker. Listen to the music and listen to the voices. [00:03:00] Speaker D: The Mutual Broadcasting System presents I Love a Mystery Transpond. [00:03:48] Speaker E: But the police have just got to be right. Jack, the shot that killed Job come from out on the porch. [00:03:54] Speaker D: I know that. [00:03:54] Speaker E: And Faye Hope and Cherry and Grandma Martin was a setting right in this room with us. [00:03:58] Speaker D: That's right. [00:03:59] Speaker E: So they couldn't have done it if they'd wanted to. [00:04:01] Speaker D: Looks that way, doesn't it? [00:04:02] Speaker E: It not only looks that way, it is that way. What you keep nosing around this library for what you expect to find? [00:04:09] Speaker D: The answer. [00:04:10] Speaker E: Answer? Answer to what? [00:04:12] Speaker D: Someone in this room killed Job. [00:04:14] Speaker E: You're crazy. [00:04:15] Speaker D: That so? [00:04:15] Speaker E: I'll be a bow legged hypnoceros if you ain't. What ain't we just admitted Job was shot from out on the porch? [00:04:21] Speaker D: Doc, you're sure Reggie's up patrolling the second floor hallway? [00:04:24] Speaker E: Of course he is. That's what you just told him to do, ain't it? [00:04:26] Speaker D: Yes. [00:04:26] Speaker E: Well, then that's where he is. Looky, it's three in the morning. How about us calling the whole thing off and going to bed? [00:04:34] Speaker D: Can't. [00:04:34] Speaker E: Well, if the police are satisfied he is shot from outside, why shouldn't we be? [00:04:39] Speaker D: Because I know more than the police do. [00:04:40] Speaker E: Okay, you know more than. [00:04:42] Speaker D: Huh? [00:04:43] Speaker E: You know more about what? [00:04:44] Speaker D: What's going on in this house. For instance, we know that a baby cries in this house and that there's no baby. Yeah, we know that Cherry predicted job's death not 10 minutes before he was killed. [00:04:53] Speaker E: You mean her saying they would get him before the law did? [00:04:56] Speaker D: Yes. How did she know? [00:04:58] Speaker E: Well, how about her being in cahoots with a killer on the outside? [00:05:01] Speaker D: Maybe? We also know that just before Job was killed, the lights went out in. [00:05:04] Speaker E: The library and the baby cried. [00:05:06] Speaker D: Yes, but what made the lights go out? [00:05:07] Speaker E: Well, somebody snapped the switch. [00:05:09] Speaker D: But who? No one in the room was nearer than six feet to the switch. [00:05:12] Speaker E: It's right beside the door. Somebody must have sneaked the door open, reached in and snapped them off. [00:05:16] Speaker D: Who? [00:05:16] Speaker E: Well, the guy that shot Job from the porch. [00:05:18] Speaker D: Maybe. I don't think so. [00:05:20] Speaker E: Why don't you bring your flashlight over. [00:05:22] Speaker D: Here and run it along the floor? [00:05:23] Speaker E: What for? [00:05:23] Speaker D: Would you mind, Doc? [00:05:24] Speaker E: Oh, no, of course not. [00:05:26] Speaker D: Thanks. Okay. [00:05:31] Speaker E: You know, feller, don't mind me saying so, but I think you're trying to make something out of nothing. [00:05:35] Speaker D: You can go to bed if you want to. [00:05:37] Speaker E: Oh, you know doggone well I won't go to bed until you do. [00:05:39] Speaker D: Suit yourself. [00:05:40] Speaker E: Why do you think somebody in this house done murder? At least you can tell me that much. [00:05:44] Speaker D: It was too well set up. It Was all planned. [00:05:47] Speaker E: What was? [00:05:47] Speaker D: The murder. Jerry insisted on bringing the whole family down here. Jerry accused Job of killing the chauffeur and predicting his death. Jerry was frightened. From the moment we brought her into this room with Job, Jerry's always here just the same. She was breathless, expectant, waiting for something to happen. [00:06:02] Speaker E: Then you. You really think she done it? [00:06:04] Speaker D: On the other hand, Grandmother Martin acted very peculiar. She insisted on arranging the chairs in a certain position in the room. She insisted on each one of the family taking a certain chair. She selected the chair right in front of the window for Joan. [00:06:15] Speaker E: But didn't Faye explain that she'd been doing that since they were little kids? [00:06:18] Speaker D: Yet when I interviewed the family on the first night we got here, she didn't insist everyone sat where he wanted to. Hmm. [00:06:24] Speaker E: That's funny. [00:06:25] Speaker D: Yes, I think so, too. [00:06:27] Speaker E: The only thing about Grandma doing it, though. Everybody said Job was her favorite. You don't just up and murder your favorite grandchild. You don't even help somebody else do it. [00:06:36] Speaker D: Still, she did make him sit in the chair in front of the window. [00:06:38] Speaker E: Yeah, she done that, all right. But looky, Jack. Just before the murder, you was assured. [00:06:44] Speaker D: That Fay was the one still not overlooking her. She's the most intelligent, the most capable of planning a foolproof murder. [00:06:50] Speaker E: And since she was the one nearest. Hey, wait a minute. I just thought of something. Did you hear any gun go off? [00:06:55] Speaker D: What's that? [00:06:56] Speaker E: When Job was shot, did you hear any gun go off? [00:06:59] Speaker D: No. [00:06:59] Speaker E: Well, neither did I. Just a smashing of the wind. [00:07:02] Speaker D: Which means the gun with the silencer was used. [00:07:04] Speaker E: Yeah, I guess that'd have to be it, wouldn't it? [00:07:08] Speaker D: Hmm. [00:07:09] Speaker E: What's that for? Well, what you doing that for? [00:07:12] Speaker D: Marking on the floor where each chair is placed just in case they're moved. Now then, we're ready to go upstairs. [00:07:21] Speaker E: To bed. [00:07:21] Speaker D: No, not to bed. [00:07:23] Speaker E: All right, all right. I was just asking. Will you tell me one thing, though? [00:07:27] Speaker D: What? [00:07:27] Speaker E: Why, if you think Cherry or Grandma or Faye is a killer, didn't you lock them up tonight? [00:07:32] Speaker D: I set Reggie to patrolling in front of their rooms, didn't I? [00:07:34] Speaker E: Yeah, but this afternoon you had them all locked in and had me and Reggie watching. Besides, now you have their doors unlocked and you only have Reggie on the job. [00:07:43] Speaker D: I've been waiting for something to happen. [00:07:44] Speaker E: Huh. You been a Doing what? [00:07:46] Speaker D: Waiting for something to happen. [00:07:48] Speaker E: You mean that's what we've been doing in yonder library? Waiting for something? [00:07:51] Speaker D: Yes. [00:07:52] Speaker E: I thought you said you was hunting for some. [00:07:54] Speaker D: Well, I had to put in the time some way. [00:07:55] Speaker E: But what? Waiting. For what? [00:07:58] Speaker D: For the murderer to make the next move. [00:07:59] Speaker E: For the. You mean you're turning the murderer loose to prowling the house? [00:08:03] Speaker D: That's about it. [00:08:04] Speaker E: Well, just to see what he'd do next. [00:08:06] Speaker D: Yes. [00:08:07] Speaker E: Then why'd you bother to put Reggie up on the second floor? [00:08:10] Speaker D: So we could get to all the rooms fast. In case the baby cried. [00:08:12] Speaker E: No, baby ain't cried. [00:08:14] Speaker D: No. [00:08:14] Speaker E: So you're giving up expecting something to happen? [00:08:16] Speaker D: Maybe. I'll take it easy on the stairs. [00:08:19] Speaker E: Yeah. Hey, that. That kind of makes my hair stand up better. Right this minute a killer may be a sneaking and a crouching around in dark places. [00:08:28] Speaker D: Hey, hey, hey. [00:08:29] Speaker E: Hold it. [00:08:29] Speaker D: What's the matter? [00:08:30] Speaker E: There's somebody standing there at the head of the stairs. [00:08:33] Speaker D: Oh. What's the matter with you, Doc? That's Reggie. [00:08:36] Speaker E: What's he in the shadow for? [00:08:37] Speaker D: Is that you, Jack? Yes, Reggie. Everything quiet up here too? Valley quiet if you ask me. Haven't heard anything, huh? There's been movement in Fay's room. I don't think that young woman's getting much sleep tonight. [00:08:47] Speaker E: A bad conscience maybe, huh? [00:08:49] Speaker D: That's all you've heard? [00:08:50] Speaker E: Funny thing. [00:08:50] Speaker D: Once I thought I heard a rustling of a dress. When was that? [00:08:53] Speaker E: 15, 20 minutes ago. [00:08:54] Speaker D: What'd it sound like? Just movement. Like a drape blowing at an open window. Must have been hearing things known in the hall. If any of the doors had been. [00:09:01] Speaker E: Opened and closed, I'd have heard them. [00:09:03] Speaker D: You couldn't have seen around the corner of the hall? No, but it's been so quiet I would have heard the turn of the doorknob. Maybe, maybe not. Let's have a look. But I tell you, Jack, there's no time for guesswork. Make sure this is Fay's room. Yeah. Give me a flashlight. Uh huh. Wait here. [00:09:19] Speaker E: I thought you said Faye was awake. [00:09:21] Speaker D: She was. Half an hour ago. [00:09:23] Speaker E: She all right, Jack? [00:09:24] Speaker D: Yes. Her bed looks like it had been stirred up with a spoon. But she's asleep now. Hope's right around the corner of the hall. All right. I don't see how anyone can sleep tonight. Her brother murdered. Exhaustion, I suppose. So this is it. Wait here. [00:09:41] Speaker E: Funny they didn't lock their doors from inside. [00:09:44] Speaker D: But I was on duty up here just the same. [00:09:46] Speaker E: With somebody prowling. Oh. Hope okay? [00:09:49] Speaker D: Yes. Doesn't look like she moved since she got into that bed. Doc, you keep watch down here while Reggie and I go up on the third floor and have a look at Grandma and Cherry. Sure. [00:09:58] Speaker E: Go ahead. [00:09:58] Speaker D: Come on, Reggie. [00:10:03] Speaker E: Hey. [00:10:04] Speaker F: Hey, what's going on? [00:10:06] Speaker E: Hello, Faye. [00:10:08] Speaker F: Did somebody just come into my room? [00:10:09] Speaker E: Yeah, Jack. Just checking up. [00:10:11] Speaker F: He's got his nerve for your own good. I'll bet I was something to look at. Didn't he ever hear the old saw let sleeping girls lie? [00:10:19] Speaker E: I guess not. [00:10:20] Speaker F: Where is he now? [00:10:21] Speaker E: Up on the third floor, checking on Grandma and Cherry. [00:10:25] Speaker F: Grandma's gonna love that. [00:10:27] Speaker E: Business is business. [00:10:29] Speaker F: Grandma keeps a poker beside her bed for his own good. He better not wake her up. [00:10:37] Speaker E: Grandma's asleep. [00:10:38] Speaker D: Yes, she snores. Now then, across the hall is Cherry. Listen. The baby. Quick, look in Cherry's room. Right. Oh. Turn on the light. I'm trying to. [00:10:53] Speaker E: Here it is. [00:10:54] Speaker D: Say, she's not here. Cherry's not here. Downstairs, quick. Get down. Wait. What's that? You're by the door. [00:11:00] Speaker B: Look. [00:11:01] Speaker D: Handkerchief. Blood on it. [00:11:02] Speaker E: Oh, I say. Come on. [00:11:03] Speaker D: Don't stand there. Jack. Jack, wait a minute. Look here. We haven't got time for any. But. Right. I see her by the head of the stairs. A shoe. [00:11:08] Speaker E: What's that? [00:11:09] Speaker D: Here, let me see. A girl's shoe. Cherries. Come on. Keep your eyes open. [00:11:13] Speaker E: I know. [00:11:18] Speaker A: Here. [00:11:18] Speaker D: Here's something else. I say. A ribbon out of her hair. [00:11:21] Speaker E: Jack. [00:11:21] Speaker D: Jack. [00:11:22] Speaker E: The baby. Did you hear the baby? [00:11:23] Speaker D: Yeah, we heard it. [00:11:23] Speaker E: And cherries. Not in the room, Jerry. You mean the baby's got her? [00:11:26] Speaker D: Don't be a fool, Doc. You stay here and guard these doors. Reggie and I have got a job on our hands. [00:11:30] Speaker E: Where are you going? [00:11:31] Speaker D: Search the house. She seems to have been dropping things all along the way. [00:11:34] Speaker E: I say, what's this stocking? [00:11:35] Speaker D: Looks like a strip tease. Here, I'm downstairs to the first floor. Uh. Oh. There's something at the foot of the stairs. [00:11:46] Speaker E: Another shoe. [00:11:46] Speaker D: What's that in the hallway. Get it. I say. I don't see it. Toward the back of the house. The baby again. Hurry. Hurry. She must have gone this way. All right. What'd you pick up that time? I don't know, but it's. It's feminine. Lacey and perfume. No, hang on to it. Now, this goes into the kitchen. Come on. I look around. I say, here it is. Bit of lace. Looks like it was a soft address. Right in front of this door. Jove. Dark. Must be the cellar. Find a light. [00:12:14] Speaker E: Fine. [00:12:15] Speaker D: Here it is. Come on. Here. This check. I say, the furnace, it's going full blast. I can see it. Put the furnace full blast at 3 in the morning. Look. Look there. Reggie, it's Cherry. Cherry lying in front of the furnace. Here, let me see. Bound Hand and foot and gagged. She's unconscious. But, Jack, the furnace. You think they were going to do it? Do. [00:12:57] Speaker F: Sa. [00:13:24] Speaker D: The further transcribed adventures of Jack, Duck and Reggie will come to you tomorrow at this same hour. I Love A Mystery, written and directed by Carlton E. Morse, comes to you Monday through Friday. Featuring Russell Thorson as Jack, Jim Bowles as Doc Long, and Tony Randall as Reggie York. Mike McCarthy speaking. The mutual Broadcasting System presents I Love A Mystery. [00:13:55] Speaker E: Hi. [00:14:39] Speaker D: So at last you've seen one of them. These people you call they? [00:14:42] Speaker G: Yes, but not his face. [00:14:44] Speaker D: No, no, no. Don't try to sit up. [00:14:47] Speaker G: I'm thirsty. [00:14:48] Speaker D: Get her a glass of water. [00:14:49] Speaker E: Doc, Water coming right up. [00:14:50] Speaker D: Just lie still and keep covered up. [00:14:53] Speaker G: Where am I? [00:14:54] Speaker D: Don't you recognize your own bedroom? [00:14:56] Speaker G: Oh. Oh, yes. [00:14:58] Speaker D: You're sure you do? [00:15:00] Speaker G: Yes, it's my bedroom. I always hated it. [00:15:04] Speaker D: Why? [00:15:05] Speaker G: Because when I was little, Grandma punished me by locking me in here. I was afraid. [00:15:11] Speaker E: Why? [00:15:12] Speaker G: There were pictures on the wall. Pictures of Humpty Dumpty and Simple Simon and Peter Piper and a lot more. [00:15:20] Speaker D: You mean the wall was papered with Mother Goose characters? [00:15:22] Speaker G: Yeah. They wouldn't stop looking at me. Even when I shut my eyes, they were still there, looking at me. Laughing. Laughing. [00:15:32] Speaker D: That was when you were a very little girl? [00:15:33] Speaker G: Yes. [00:15:34] Speaker E: Here you are, Jack. Couldn't find a glass. [00:15:36] Speaker D: All right, now let me raise you up. [00:15:38] Speaker G: All right. [00:15:39] Speaker D: There. Go ahead. [00:15:45] Speaker G: Thank you. [00:15:45] Speaker D: Better? [00:15:46] Speaker E: Yes. [00:15:47] Speaker D: Now then, you say you didn't see him. That is his face. [00:15:51] Speaker G: No, they. They're very clever. [00:15:54] Speaker D: Was his face covered? [00:15:55] Speaker G: No, it just wasn't there. [00:15:59] Speaker E: Wasn't there? [00:16:00] Speaker G: He had a kind of hood over his head. It was all kind of blank and dark inside. The hood. [00:16:06] Speaker E: Dog gone. [00:16:07] Speaker D: Describe what you did see. [00:16:10] Speaker G: Do I have to? [00:16:11] Speaker D: Please. [00:16:12] Speaker G: Well, the hood and then kind of a short smock, you know, big and full. I think it was made of satin. [00:16:21] Speaker D: What color was it? [00:16:21] Speaker G: Red. Red. Like when you stick your finger and the blood comes out. [00:16:25] Speaker E: Hey, Cherry, are you telling the truth? [00:16:27] Speaker G: Yes, I am. I am. [00:16:29] Speaker D: And what about his trousers? [00:16:30] Speaker G: Oh, I don't remember. I don't remember whether he had legs or not. [00:16:35] Speaker E: You don't remember whether he had legs or not? [00:16:37] Speaker G: No. [00:16:38] Speaker D: And he picked you up and carried you down to the furnace room. So he must have had legs. [00:16:41] Speaker G: Yeah, I guess he must. [00:16:44] Speaker D: How did he get here in your bedroom in the first place? [00:16:46] Speaker G: He. He just opened the door and walked in. [00:16:50] Speaker D: Why didn't you scream? [00:16:51] Speaker G: I was too scared. And then he put a gag in my mouth. [00:16:55] Speaker E: Didn't you fight him? [00:16:55] Speaker G: I Couldn't move. [00:16:56] Speaker E: You just laid there and let him. Let him gag you and hog tie you? [00:17:00] Speaker G: Yes, I couldn't move. [00:17:01] Speaker E: And all the time Reggie was out there patrolling the hall. Well, how come he didn't see you when old no Face picked you up and carried you out? [00:17:09] Speaker G: I don't know. He kept my face pressed against his chest, hard so I couldn't see a thing. I thought I was going to smother. [00:17:17] Speaker D: And then he carried you down to the furnace room? [00:17:18] Speaker E: Yes. [00:17:18] Speaker D: And then he turned down the furnace full blast? [00:17:20] Speaker E: Yes. [00:17:21] Speaker D: Why? What do you think he intended to do? [00:17:24] Speaker G: I know what he was going to do. [00:17:26] Speaker D: Well, then why didn't he do it? [00:17:27] Speaker G: Because just then the baby began to cry. [00:17:31] Speaker D: Yes. The baby. [00:17:33] Speaker G: Yes, the baby cried. And? And that's the last I saw of him. [00:17:37] Speaker D: You didn't see which way he went? [00:17:38] Speaker G: No. He was there and then he was gone. [00:17:41] Speaker D: And the next you knew, we were beside you. [00:17:43] Speaker G: Yes. [00:17:44] Speaker E: Well, son, it looks like we gotta set our traps for a feller in a red smock and no Face. [00:17:50] Speaker D: Yes. Yes, it does, doesn't it? [00:17:53] Speaker G: Where's Grandma and the girls? [00:17:55] Speaker D: Down the library. Reggie's staying with them. [00:17:57] Speaker G: Why? [00:17:58] Speaker D: Reasons of my own. [00:17:59] Speaker G: You. You haven't done a very good job here, have you? [00:18:04] Speaker D: What do you mean? [00:18:05] Speaker G: Since you came. The chauffeur was killed and now Job is dead. [00:18:09] Speaker D: That's right. [00:18:10] Speaker G: And then this happened to me. [00:18:12] Speaker D: You'd rather have someone else. [00:18:14] Speaker G: No. You couldn't help it. Nobody could. [00:18:19] Speaker D: You think this reign of terror is going to continue? [00:18:22] Speaker G: It's got to. It can't stop now. It's got to go on and on and on until there isn't any of us left. Nobody but Grandma. [00:18:31] Speaker E: You mean you think you and Hope and Faye's gonna be killed? [00:18:33] Speaker G: Yes, I know. [00:18:35] Speaker D: You say you know. Do you actually, or is it just your belief? [00:18:38] Speaker G: It's the same thing. I haven't been wrong about anything I said was going to happen. [00:18:42] Speaker E: That's right, Jack. She kept saying over and over that Joe was in a bad spot. [00:18:46] Speaker G: And Hope, she's in the worst danger right now. [00:18:49] Speaker D: What about Faye? [00:18:50] Speaker G: I don't care about Faye. She doesn't like me and I don't like her. [00:18:54] Speaker D: But she's going to die, too. [00:18:56] Speaker G: Yes, but I don't care about that. Job was the one who bothered me most. [00:19:01] Speaker D: And next to Job, you like Hope the most? [00:19:03] Speaker G: Yes. [00:19:04] Speaker D: Jerry, do you know a girl named Pauline West? [00:19:08] Speaker G: Pauline West? [00:19:09] Speaker D: Yes. Do you? [00:19:12] Speaker G: Why do you ask that? [00:19:13] Speaker D: Just answer. Do you or don't you? [00:19:15] Speaker G: I guess I've heard the name somewhere. Sounds familiar. [00:19:20] Speaker D: She's a radio actress. Now, do you recognize her? [00:19:23] Speaker G: I. No, I don't think so. [00:19:27] Speaker E: What the heck's a radio actress named Pauline west got to do with this, Jack? [00:19:31] Speaker D: I don't know, but I found several casting sheets down in the furnace room made out in her name. [00:19:35] Speaker E: He found what? [00:19:36] Speaker D: Casting sheets. [00:19:37] Speaker G: What's a casting sheet? [00:19:38] Speaker D: It's a form sent out to actors and artists who've been cast on a show. Tells the time of rehearsal, the date and hour of the show, and the amount of money the performance page. [00:19:46] Speaker E: Okay, so you found the casting sheet for Pauline West. And I still want to know what that's got to do with all the rough stuff that's going on here. [00:19:53] Speaker D: Probably nothing. Simply a new name in the picture. If there's a Pauline west connected with this house, I want to know it. [00:19:59] Speaker E: Well, wouldn't Cherry know it if there was? [00:20:01] Speaker D: Seems likely. But I'd still like to know what that casting sheet was doing in the furnace room. [00:20:05] Speaker E: Must not be a very good actress. I never heard of her before. [00:20:08] Speaker D: Oh, you listen to radio shows? [00:20:10] Speaker E: Of course you do. Well, anyway, all of them that's got girls on her. What, you think I just bought a battery set to carry around with me. [00:20:17] Speaker D: For in love with all the women on the air. [00:20:19] Speaker E: And boy, is there a couple of them that I'd like to write dialogue for, would I? You're darn right. The words I'd put in those babies mouths would make the radio sensors turn over in their graves. [00:20:29] Speaker D: What do you know about radio sensors? [00:20:31] Speaker E: Nothing. [00:20:32] Speaker D: Then what are you talking about? [00:20:33] Speaker E: Okay. Hey. Hey, Jack, look. [00:20:36] Speaker D: Cherry. Jerry. You little fool. Come back here. What's the matter with you? Where do you think you're going? [00:20:41] Speaker G: No, please. [00:20:42] Speaker D: Come back here and get into bed. Pull the covers back, Doc. [00:20:44] Speaker E: Yeah. There. [00:20:46] Speaker D: Now get into that bed. [00:20:47] Speaker G: All right. I wasn't going anywhere. [00:20:50] Speaker D: And what do you mean trying to sneak out on us? [00:20:51] Speaker G: No, I wasn't. I just don't like this room. [00:20:55] Speaker D: Well, would you like us to move you downstairs? Jack, where are you? Hey, that's Reggie up in Cherry's room. Reggie, something's happened. [00:21:01] Speaker G: I knew I. Jack. [00:21:02] Speaker D: Jack. Hope's got away. [00:21:03] Speaker E: Hope's got away. She snapped off the light in the. [00:21:05] Speaker D: Library downstairs and was out the door and gone before I could get it back on. [00:21:08] Speaker E: Probably on way down to an employment agency to get herself a new chauffeur. [00:21:11] Speaker D: Now, never mind that, Doc. Where are Fay and her grandmother? [00:21:13] Speaker E: I locked them in the powder room. [00:21:14] Speaker D: Just off the hall while I Came up to tell you. Are they all right there? [00:21:17] Speaker E: Well, they can't get out. [00:21:18] Speaker D: Good. Doc. [00:21:19] Speaker E: Yeah? [00:21:19] Speaker D: You stay here with Cherry. I'm going with Reggie. [00:21:20] Speaker E: Okay. [00:21:21] Speaker D: Don't let her out of your sight for a minute. [00:21:22] Speaker E: You hear that, Cherry, honey? [00:21:23] Speaker D: Come on. Reggie, do you think Hope left the house? No, I think she went towards the furnace. [00:21:27] Speaker G: Furnace room? Did he say furnace room? [00:21:30] Speaker E: That's what he said, that Hope was heading for the furnace room. [00:21:32] Speaker G: But she mustn't. She mustn't? [00:21:34] Speaker E: Why not? [00:21:34] Speaker G: Because that's where things happen to people. [00:21:37] Speaker E: Things happen to folks in the furnace. [00:21:39] Speaker G: Just go tell them. Go tell them quick. [00:21:41] Speaker E: Hey, you mean that? [00:21:42] Speaker G: Yes. Don't you understand? Go tell them to keep Hope away from there. [00:21:46] Speaker E: Well, I don't know. Jack said to stay here with you. [00:21:48] Speaker G: Hurry. Hurry. [00:21:49] Speaker E: You promised to stay right there in bed. [00:21:51] Speaker D: Yes. Yes. [00:21:51] Speaker E: Okay. I'll be right back. I'll leave the door open. [00:21:55] Speaker G: No, no, no. Hurry, hurry. Poor little Hope. Poor little sister. Oh, better hurry. [00:22:04] Speaker F: Hurry. [00:22:04] Speaker E: Okay, Cherry, get back into bed. [00:22:06] Speaker F: No. [00:22:06] Speaker E: Now, come on. Get back into bed where you belong. [00:22:09] Speaker G: But you didn't go. You didn't go. [00:22:11] Speaker D: Nope. [00:22:11] Speaker E: I just waited outside the door to see what was. Why you were so anxious for me to leave. [00:22:15] Speaker G: But I was just going to help find a Hope. [00:22:17] Speaker E: Well, Jack and Reggie's pretty good at that sort of thing. [00:22:20] Speaker G: I know. I think I know where she is. [00:22:21] Speaker E: Well, if she's in this house, they'll find her. [00:22:23] Speaker G: But she's in such danger. They've got to hurry. [00:22:26] Speaker E: Now, looky chair. How could you know that? [00:22:28] Speaker G: But I do. I do. [00:22:31] Speaker E: Hey, shut up. What's the matter? There's somebody out in the hall. [00:22:34] Speaker G: Oh, no. Listen. It's them. They've come back. [00:22:40] Speaker E: Me? [00:22:40] Speaker G: But it is. I know it. [00:22:41] Speaker E: I hope so. I ain't never seen a fellow with no face and a red smock. [00:22:45] Speaker G: Could I get under the bed, please? [00:22:46] Speaker E: You stay right where you are. [00:22:48] Speaker D: Listen. [00:22:51] Speaker G: They'Re right besides the door. I can feel them. [00:22:55] Speaker E: Somebody out there. [00:22:56] Speaker F: Okay. [00:22:56] Speaker G: Have you got a gun? [00:22:57] Speaker D: No. [00:22:58] Speaker G: Please let me get under the bed. [00:23:00] Speaker D: No. [00:23:00] Speaker G: Where are you going? [00:23:01] Speaker E: I'm gonna sneak over the door. Maybe I can jump. Oh, no. [00:23:05] Speaker G: That's what they're waiting for. [00:23:06] Speaker E: Lay still and keep quiet. That's funny. [00:23:12] Speaker C: What's the matter? [00:23:12] Speaker E: Was nobody out there at all? [00:23:14] Speaker G: Yes, there was. I know there was. [00:23:16] Speaker E: Not when I got there. I know. What's the matter. You're giving me the jumps. You got me seeing things that ain't there too. [00:23:22] Speaker G: I tell you, there was something. [00:23:24] Speaker F: Oh, that's right. Hello, Texas. [00:23:26] Speaker E: Well, hey, Hope. Everybody in this house is looking for you. [00:23:29] Speaker F: Now, that's silly. [00:23:29] Speaker E: What'd you dodge out of the library for? [00:23:31] Speaker F: I had to see Cherry. My little sister, Cherry. [00:23:35] Speaker G: Oh, I'm so glad you came. I was so scared for you. [00:23:38] Speaker F: Sisterly devotion, huh? [00:23:40] Speaker G: Yes. I love you so. [00:23:43] Speaker F: She loves me so. Now, isn't that sweet? [00:23:46] Speaker G: Oh, Hope, don't say that. You and Job, you two are all in the world I've got to love. [00:23:53] Speaker F: And now you haven't got Job. [00:23:55] Speaker G: But I still got you. [00:23:57] Speaker F: No, you haven't. [00:23:58] Speaker G: Oh, Hope, please. [00:23:59] Speaker F: No, you haven't got me. Not any of me. [00:24:02] Speaker G: Then why are you coming over here to the bed? Go away if you don't love me. [00:24:07] Speaker F: I want to show you something. [00:24:09] Speaker G: What do you mean? [00:24:10] Speaker F: Look what I found. [00:24:12] Speaker G: The gun. [00:24:13] Speaker F: That's right. The gun that killed Joe. [00:24:14] Speaker E: Hey, what'd you say? [00:24:15] Speaker G: Give it to me. [00:24:16] Speaker F: Jerry, stop it. Let go of it. [00:24:17] Speaker D: Hey. [00:24:17] Speaker E: Hey, don't. [00:24:18] Speaker D: Give me. [00:24:18] Speaker A: Give it to me. [00:24:19] Speaker F: I won't give it to you. [00:24:23] Speaker E: You shot her. You shot who? My little sister. My poor little s. [00:24:43] Speaker D: S. A. The further transcribed adventures of Jack, Duck and Reggie will come to you tomorrow at this 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. Mutual Broadcasting System presents I Love A Mystery transpired. [00:26:28] Speaker E: But, Jack, not only is there a policeman outside Hope's door, but there's a doctor and a nurse inside with her. Well, what's Anita, Reggie a gardener too, Right. [00:26:36] Speaker D: Hope's got a fighting chance to stay alive. The doctor says with an even break, she'll pull through. I'm gonna see she gets that break. [00:26:41] Speaker F: I don't get you, Mr. Cracker. Yes, please explain yourself. You mean you're protecting her from something? [00:26:47] Speaker D: You bet I'm protecting her from something, Mrs. Randolph Martin. [00:26:49] Speaker F: That's absurd. Hope was accidentally shot when she and Cherry were wrestling for the gun. [00:26:53] Speaker D: Maybe. [00:26:54] Speaker F: No maybe about it. You have the word of your own companion, Mr. Long here who saw it. [00:26:58] Speaker E: Yeah, there ain't no getting away from that, Jack. I saw it, all right. [00:27:01] Speaker D: I wish I'd seen it. [00:27:02] Speaker E: Why? [00:27:03] Speaker D: Look, Doc, I want you to tell your story again in front of Grandma Martin and Fay here. Go over it again. Every detail. [00:27:07] Speaker E: Well, when Reggie come running upstairs and said Hope had escaped from the library and was loose in the house, you told me to stay right with Cherry, not leave her for a minute. [00:27:16] Speaker D: Yes. [00:27:17] Speaker E: Then you and Reggie run downstairs well, the minute you was out of sight, Cherry started in saying, don't let Hope go to the furnace room. Don't let Hope go to the furnace room. Kept saying it over and over. And then she says, hurry, hurry. Go tell him. You must warn him. [00:27:30] Speaker D: What did you do? [00:27:31] Speaker E: Well, she sounded so scared. I thought maybe that I ought to tell you. And I started out the door. And just as I got out in the hall, I remembered you saying, don't leave Cherry under any circumstances. So I whirled around and tiptoed back to the door. And there was Cherry out of bed and putting on some slippers in her bathrobe. Well, I grabbed her and stuck her back in bed. [00:27:48] Speaker F: Where was the terrified mouse going? [00:27:50] Speaker E: Well, she said she was going to find Hope. That she thought that she knew where she was. [00:27:53] Speaker D: Then what happened? [00:27:54] Speaker E: Well, then the bedroom door was. Was open and I thought I heard somebody out in the hall. Cherry said it was them, that they had come back. Well, I sneaked over the door and looked out and nobody was there. [00:28:05] Speaker F: Some more of Cherry's romantic nonsense. [00:28:08] Speaker E: Yeah, Well, I hardly got back in the room when Hope comes in. [00:28:11] Speaker D: This is the part I'm especially interested in. Be very sure about every detail. Where were you standing? [00:28:15] Speaker E: At the foot of Cherry's bed. [00:28:16] Speaker D: How was Cherry doing? [00:28:17] Speaker E: Well, the minute she saw Hope come in the door, she sat up in bed. [00:28:20] Speaker D: And Hope, where was she? [00:28:21] Speaker E: Well, she come in the door and walked about halfway between the door and the bed at first. [00:28:25] Speaker D: All right, now go on. [00:28:26] Speaker E: Yeah. Well, Hope just walked in and said, hello, Cherry. Well, I was looking at Hope, but Cherry made kind of a funny little gurgling noise in her throat. And I looked at her and she was kind of green around the gills and trembling. [00:28:38] Speaker F: Cherry afraid of Hope? What are you talking about? [00:28:41] Speaker E: Well, that's the way it was for you. I'm just telling you what I saw. [00:28:43] Speaker F: Horse feathers. [00:28:44] Speaker E: I'm only telling you what I saw. [00:28:46] Speaker D: Go on. What then? [00:28:47] Speaker E: Well, I said, hey, Hope, everybody's looking for you. Why'd you dodge out of the library? She said, on account I got to see Cherry. My little sister Cherry. [00:28:56] Speaker D: Just how did she say it? [00:28:57] Speaker F: I can tell you how she said it. She was making fun of Cherry. [00:29:00] Speaker D: Was that it, Doc? [00:29:01] Speaker E: Well, yeah, kinda. All right. Cherry was a shivering all the time, but she said, oh, I'm so glad you came. I was so skeered for you. Then she said, I love you so, Job and you. [00:29:12] Speaker F: The mouse always was sloppy with her emotions. [00:29:14] Speaker E: Yeah, it kind of made the hair stand up on my neck. Her Saying sweet things in a kind of pleading voice. And all the time trembling so she could hardly talk. [00:29:22] Speaker D: What was Hope's reaction? [00:29:23] Speaker E: Well, she said, and now you ain't got Job. And Cherry said, but I still got you. And Hope said, no, you haven't. Not any of me. And then she started toward the bed. Well, Cherry kind of cringed down and said, go away if you don't love me. But Hope kept it coming until she got right up to the bed. [00:29:39] Speaker D: What were you doing all this time? [00:29:40] Speaker E: Well, just standing there at the foot of the bed. [00:29:41] Speaker D: That's great. But, Jack, forget it. Go on. [00:29:44] Speaker E: Well, when she got right up to the bed, she pulled out Job's gun with a silencer on it. And the next thing I knew, that they was fighting, fighting over like a couple old cats. And before I could get around the bed, it went off. And Hope sort of stood up. Stood up on her tiptoes and then just crumbled up all in a heap. [00:30:00] Speaker D: You said before that Hope said it was the gun that killed Job. [00:30:03] Speaker E: Yeah, that's right. She did. [00:30:05] Speaker D: You're sure she didn't say where she got the gun? [00:30:07] Speaker E: No, just that she found it. [00:30:08] Speaker F: Mr. Lawton. [00:30:09] Speaker E: Yeah, Grandma? [00:30:10] Speaker F: Was it your impression that Hope intended to shoot Cherry with that gun? [00:30:14] Speaker E: Well, she was sure enough gonna do something with it. [00:30:16] Speaker F: But she didn't say anything about shooting Cherry? [00:30:19] Speaker E: Oh, no, not exactly. Just. Just look what I've got. [00:30:22] Speaker F: Then maybe she actually just intended to show the gun to Cherry. Cherry got excited and thought she was going to shoot and made a grab for the gun. [00:30:28] Speaker E: Well, maybe. [00:30:30] Speaker D: Doc, you believe Hope came up here with the planned purpose of killing Cherry? [00:30:33] Speaker E: Well, doggone it, Jack. She was all steamed up for something. You could see hate all over her face. You'd have thought Cherry was a worm, the way she stepped on her. And when that gun come out of her dress, there was no fool in the back. [00:30:46] Speaker F: I don't believe it. [00:30:47] Speaker D: Well, let's see now. If Hope did intend to kill Cherry, could she also be responsible for the other deaths? [00:30:53] Speaker E: Well, she was the last one to see the chauffeur alive that we know about. [00:30:56] Speaker F: And she was sitting in the library right next to Job when he was shot. Nonsense. [00:30:59] Speaker D: Not such nonsense as you might think, Grandma. [00:31:02] Speaker F: I say nonsense if that's the way you feel. It's exactly the way I feel. None of my granddaughters is a murderer, nor are they connected with murderers. The chauffeur and Job were killed by men outside this house. Hope was accidentally shot. That's all there is to it. To Try to read anything more into it is unjust and unfair to the name of Martin. [00:31:21] Speaker D: Grandmother Martin. You know better than that. [00:31:23] Speaker F: I know nothing of the kind. The police will eventually find the killers of Job and the chauffeur. The doctor gives Hope a good chance for recovery. That's the end of it. [00:31:32] Speaker D: You believe that, Faith? [00:31:33] Speaker F: Why not? What Grandma says goes. [00:31:36] Speaker D: You're not interested in where Hope found the gun with a silence. You're not interested in who bound and gagged Cherry and carried it out the furnace room. You don't want to know what makes the baby cry when it's here, huh? [00:31:47] Speaker E: What's the matter, Jack? [00:31:48] Speaker D: Doc, did the baby cry before Hope was shot? [00:31:50] Speaker E: Hey. [00:31:51] Speaker D: It didn't? [00:31:51] Speaker E: No, not a peep out of him. You don't suppose he's losing his grip, do you? [00:31:55] Speaker F: Well, there you are. That proves the shooting of Hope was an accident. [00:31:59] Speaker D: It does? [00:31:59] Speaker F: Certainly. You said yourself the baby always cried as a warning when one of the family was in danger. [00:32:04] Speaker D: Yes, and certainly Hope was in danger, whether accidentally or by planning. Why didn't the baby cry? [00:32:09] Speaker E: Because it happened too fast. [00:32:10] Speaker D: But if our psychic baby can anticipate a planned attack, why couldn't it anticipate an accident just as easily? [00:32:15] Speaker E: I guess I don't know. I'll tell you why. [00:32:17] Speaker D: It didn't dare cry. [00:32:18] Speaker F: But why not? [00:32:19] Speaker D: Never mind why not. That's the answer. It didn't dare cry. [00:32:22] Speaker E: Well, ain't you gonna say any more than that? [00:32:24] Speaker D: No. If you don't get the answer from that, I'm not going to tell you. [00:32:26] Speaker F: Mr. Packard, you mean you know more than you're telling us? [00:32:30] Speaker D: I know a great deal more. I know who the murderer is. I know where I can put my finger on the baby when I want it. I know who killed Job and how it was done. I know who they are, those they. People Cherry so frightened of. And she has a right to be frightened. I'd rather be where Job and the chauffeur are right now than to have them after me. [00:32:45] Speaker F: Mr. Packard, you're talking like a madman. [00:32:47] Speaker D: I'm sorry. [00:32:48] Speaker E: Yeah, fella, what's eaten on you? [00:32:50] Speaker F: So you know who the murderer is? [00:32:52] Speaker D: That's right. Faye. [00:32:53] Speaker F: Mm, that's interesting. Very interesting. [00:32:56] Speaker D: Faye, I asked Jerry this question I'm asking you. Do you know a radio actress by the name of Pauline West? [00:33:02] Speaker E: What's that? [00:33:03] Speaker D: Oh, you do? [00:33:05] Speaker G: Pauline West. [00:33:08] Speaker F: What has she got to do with this? [00:33:09] Speaker D: If you know Pauline west, then you certainly know. Yes. [00:33:12] Speaker F: Yes, of course. Why didn't I think of it before? What's this nonsense about Pauline West. [00:33:15] Speaker D: You never heard of her? An actress on the radio? [00:33:17] Speaker F: What would I know about a radio actress? [00:33:20] Speaker D: Well, Fay, apparently you're the one person in the house who knows her. What of it? I called the broadcasting company where she had done most of her work, asked them where she lived. They gave me this address. [00:33:29] Speaker F: That's preposterous. [00:33:30] Speaker D: I don't think so. Down in the furnace room earlier tonight, I found casting sheets. [00:33:34] Speaker F: You found what? [00:33:35] Speaker D: A printed form from the broadcasting studio giving the day and hour of her broadcast and how much money she was to get. [00:33:40] Speaker F: How much? [00:33:40] Speaker D: Well, it wouldn't buy any fur coats. [00:33:42] Speaker F: Then we may assume she's not a star. [00:33:45] Speaker D: No run of the mill actress. [00:33:46] Speaker F: Well, young man, there's no actress in this house, run of the mill or any other kind. [00:33:50] Speaker D: Fay. [00:33:51] Speaker F: Yes? [00:33:52] Speaker D: Remember the night the chauffeur was killed? You told me you'd been down in the furnace room burning some letters. [00:33:56] Speaker E: Yes. [00:33:57] Speaker D: It wasn't casting sheets you were burning, was it? [00:34:00] Speaker F: Oh, really? Are you asking me to break right down here and confess all my sins? [00:34:06] Speaker D: I'm just asking you if you were down there burning casting sheets and that some of them were dropped unnoticed by you. [00:34:11] Speaker F: No, I wasn't burning Pauline West's casting sheets. [00:34:14] Speaker E: But looky, Jack, this don't make sense. If there's a girl named Pauline west in this house, why ain't we seen it? [00:34:20] Speaker D: You want to answer that, Faye? [00:34:22] Speaker F: No. [00:34:23] Speaker G: Do you? [00:34:24] Speaker D: Not just yet. [00:34:25] Speaker F: I didn't think so. [00:34:26] Speaker D: But I will tell you one thing. You're one person who isn't going to get out of our sight for one second from now until this case is cleaned up. [00:34:32] Speaker F: Dangerous. [00:34:33] Speaker D: Very dangerous. [00:34:34] Speaker F: Are you saying my granddaughter Faye is dangerous? [00:34:36] Speaker D: Faye understands what I mean. [00:34:38] Speaker F: Sure, Doc. [00:34:39] Speaker E: Yeah. [00:34:39] Speaker D: Faye's your one and only responsibility from now on. I don't care where she goes, what she does or what happens. You don't leave her. Not under any circumstances. Get it? Got it. [00:34:48] Speaker F: Hello, Shadow Lady. [00:34:51] Speaker E: Me and you is the same as handcuffed together. Beginning now. [00:34:54] Speaker D: Well, see you don't forget it. [00:34:55] Speaker F: Mr. Packard, I've changed my mind. [00:34:58] Speaker D: You've changed your mind about what? [00:34:59] Speaker F: I've decided that your services in this house are no longer needed. [00:35:03] Speaker D: You what? [00:35:04] Speaker F: I say I don't want you here any longer. [00:35:07] Speaker D: Well, that's too bad. [00:35:08] Speaker F: It's not too bad. It's the end. Get your things and get out. [00:35:11] Speaker E: Hey, looky grand. [00:35:12] Speaker D: You heard me. [00:35:13] Speaker F: Get out at once. [00:35:14] Speaker D: You mean now? Just as the case is on the point of being solved, you want us to Leave? [00:35:18] Speaker F: Yes. [00:35:18] Speaker D: You want this murderer free to roam this house? You want your granddaughters left unprotected to face short death? Is that what you want? [00:35:25] Speaker F: I want you to get out. [00:35:26] Speaker D: Very well. [00:35:27] Speaker E: Hey, Jack. [00:35:28] Speaker D: Shut up, Doc. Very well. I'll turn over my information to the police, and we'll get our things. [00:35:32] Speaker F: Wait. Well, there's a check for $10,000 waiting for you at my attorney's office on the understanding that the moment you pick it up, all three of you leave Hollywood and disappear for a year after. [00:35:45] Speaker D: I've turned my information over to the police. [00:35:47] Speaker F: No. You talk to no one. That's out for 10,000. [00:35:51] Speaker D: Absolutely out. You know as well as I do that I have information in this house that the police would never find out. You know that every granddaughter in your house could be killed. And except for what I know, it would remain a baffling mystery to the end of time. [00:36:02] Speaker F: Yes, I know that. [00:36:03] Speaker D: Well, that information is not to be bought. Not at any price. [00:36:07] Speaker F: Then if I was the murderer, do you know what I would do? [00:36:10] Speaker D: It might be interesting to know. [00:36:12] Speaker F: If I was the murderer, Mr. Packard, I would see that you, of all people, never left this house alive. [00:36:18] Speaker E: Hey, Grandma. [00:36:19] Speaker F: Yes, I'm quite certain that is exactly what I would do. [00:37:04] Speaker D: Further transcribed Adventures of Jack, Duck and Reggie will come to you tomorrow at this same hour. I Love a Mystery, written and directed by Carlton E. Morris, 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. [00:37:26] Speaker A: That was episodes 10, 11, and 12 of the Thing that Cries in the Night from the adventure serial I Love a Mystery, written by Carlton E. Morse here on the mysterious old Radio Listening Society. And we are doing our special summer cereal with I Love A Mystery once again. I'm Eric. [00:37:43] Speaker B: I'm Tim. [00:37:44] Speaker C: And I'm Joshua. [00:37:45] Speaker A: All right, now we're heading to the barn. [00:37:48] Speaker D: Barn? [00:37:51] Speaker A: We pick up in 10, right after job just got shot. [00:37:56] Speaker C: The police have already been and gone. [00:37:57] Speaker A: Which is an interesting thing. They're pretty willing to let these guys stay in the house, so the cops came. [00:38:04] Speaker F: All right. [00:38:04] Speaker A: Well, good night, everybody. Still, feel free to stay here. [00:38:08] Speaker C: Hopefully these strange men solve this mystery for us. [00:38:12] Speaker A: But then again, we don't ever find out really who Packard is. Jack Packard, like who he's connected to. Maybe he has much more power than we know of. And maybe the police do answer to him. [00:38:24] Speaker C: At the same time, we as listeners don't want to hear a police procedural. Right? So if we included the police, it would just be extra Time taken to write a reason why the police are gonna let Jack and his buddies stay there and keep solving the mystery. So by having that happen outside of the episodes, we just don't have that narrative bump to go over. And I kind of like that fact. [00:38:46] Speaker B: I think they say that they're up until 5am questioning these ladies in their underwear. I'm not surprised. The police just didn't find an answer to their problem and just left. [00:38:57] Speaker A: Sorry, what was your name again? And again. I'll. I just said it, but I'll say it again. I think there is also something to the idea of the mystery of who these guys really are that Morse never reveals very much about him. Here's what we do know. Just a little history. [00:39:15] Speaker B: Are you saying they're like the A Team? [00:39:17] Speaker A: Kinda? [00:39:18] Speaker B: No. [00:39:18] Speaker A: Wow. Just so you know, we could get into that. There's a lot that's based on this and the A Team is one. It's highly influenced by I A mystery in the. Anyway, the original concept of I love A Mystery. Like the first episodes. These guys met fighting the Japanese in World War II. The three of them. And they survived and they came back home and formed the A1 Detective Agency. Which I joke all the time. Lasted for about six seconds. I think they had the office for like a minute and a half. And then they were like traveling the world doing stuff. So the point being we don't really ever get much information until Morse writes another series called I Love Adventure. Then we find out that Jack is super connected to a secret society that's doing things behind the people's back. And it's the 1313 old men of Gramercy street or the 10 old men. I can't remember. [00:40:11] Speaker C: But some number of old men. [00:40:13] Speaker A: Yeah. And he has to answer to them, which. Then you go back. Oh, that would answer so many questions like this. Jack is going out to the cops and going, hi, I'm. Oh my God, it's you. Everybody, let's leave. He's got it. I think I've told you guys this. Maybe off here. I don't remember when I told this, but I had a buddy that was in military service and had some secret standing. And the cop showed up at a late night of drinking too loud. And he went outside and talked to him and they left, showed him some card and they said, okay, that was kind of cool. [00:40:44] Speaker B: Special government. We can drink and be loud. [00:40:45] Speaker E: Yeah. [00:40:46] Speaker C: Part of the Central Drinking Agency. [00:40:50] Speaker A: So we get the baby again. Cherry is in a room. I didn't catch the blood on the Door on a handkerchief. I think it was about Cherry leaving a trail down to the furnace. Is that right? [00:41:01] Speaker C: Yeah, the whole thing, that weird sex violence thing where they even come right out and say it's like a striptease, you know, has narrative function. [00:41:10] Speaker B: Doodads. [00:41:11] Speaker C: Yeah. Bottom doodad or top doodad is there slowly following her clothing all the way downstairs to the furnace. And then she's tied up this bondage thing in front of the furnace. Then Doc goes, do you think they were gonna kind of dot, dot, dot. Because I bet they might have been in trouble if they actually said they were gonna throw a woman into a furnace and burn her alive. [00:41:34] Speaker A: Doesn't he have the line in this episode, you mean the baby's got her? [00:41:37] Speaker B: Yeah. [00:41:39] Speaker A: What he's done is actually given us more questions, not more answers. [00:41:43] Speaker C: Well, yeah, because the next episode we get this description of a guy in a hood. No face. [00:41:48] Speaker A: It's even deeper. [00:41:49] Speaker C: Possibly no legs. She doesn't remember if he has legs. [00:41:52] Speaker A: Great line, by the way. [00:41:53] Speaker C: Yeah. [00:41:54] Speaker A: Does he have legs? I don't know. [00:41:55] Speaker C: I don't remember. [00:41:57] Speaker A: Yeah, Doc also, great line, calls him old no face. [00:42:05] Speaker C: But this also is the thing where we get the scary characters. Humpty Dumpty, Simple Simon, Peter Piper, all like creeped her out on her wallpaper. Which is a. Like the weird things that are intended for kids because adults think kids will love this. That freaked you out as a child. [00:42:20] Speaker A: Clowns. [00:42:21] Speaker C: Clowns being the perfect example. [00:42:22] Speaker D: Right. [00:42:23] Speaker A: We also are led now down that road really well by Morse, that we are dealing with the supernatural force to the point of. All right, well, obviously. Well, it's a no legged, hooded, faceless man killing him. [00:42:37] Speaker B: The point of. Either this is a supernatural thing, Cherry is making this up, or someone is going to extreme lengths to gaslight her. [00:42:46] Speaker A: Well, and again, what is the connection between all this? We're also now introduced to another character. [00:42:51] Speaker D: Yeah. [00:42:51] Speaker A: Pauline west is somewhere in the house. [00:42:54] Speaker C: Yeah. There is a drops that Pauline west bomb. Like, who you talking about, Jack? What's going on? [00:43:01] Speaker B: Yeah, that beat is almost like. Did you just make up a name to see if someone's gonna lie to you? Like, yes, I know that. [00:43:08] Speaker C: There's the great moment or two great moments in episode 11 that I have to address really quickly. One, when Cherry points out what a rotten job they've been doing. [00:43:18] Speaker A: The little mouse you're not doing very well. [00:43:21] Speaker C: Well, there's Bob the chauffeur died, and Job and I'm just saying you suck. [00:43:31] Speaker A: Yup. [00:43:32] Speaker C: And there is a great meta moment when Jack and Doc get on the tangent where they're talking about radio shows. Doc's talking about all the words I'd put in them radio ladies mouth. And then he talks about radio sensors. And that's got to be a nod from Morse because of how he pushed the envelope here. Was like, what would you know about radio sensors? Wink, wink, nod, nod. It's very funny. [00:43:56] Speaker A: It is very funny. And just historically speaking, more did take a lot of grief from the radio sensors. Morris made his name writing One Man's Family, which was the safest soap opera family show and longest running show in radio history. One of the most popular shows ever and completely forgotten from popular culture. I mean, we remember the Shadow and Lone Ranger and other very popular, but no one remembers One Man's Family. But he was making a living doing this. And then he comes out and does this stuff, which was really pushing the envelope. And the sensors were having a really hard time. There was a lot of complaints straddling that line with Doc and is he creepy or a good old boy? Is he good? You know, I'm gonna write some words and put them in your mouth and I'm gonna make you say one. Okay, slow down. That's getting weird. [00:44:46] Speaker B: As far as the material in the show that is edgy. This family is so dysfunctional and messed up and. And there's a real uncomfortable subtext of is there abuse? [00:45:00] Speaker C: Is there? Yeah, because they're all hung up on no one will love me and they take their clothes off all the time. And grandma's really upset about that. And I think for the time he's really. [00:45:11] Speaker B: Yeah, it's not just pushing that 10 letter words. [00:45:15] Speaker A: It's interesting having written One Man's Family, that he's writing this family. [00:45:20] Speaker D: Yeah. [00:45:20] Speaker A: That he gets to do this. [00:45:22] Speaker B: No man's Family. [00:45:23] Speaker A: Right. [00:45:25] Speaker C: And. And then we get to episode 12 and this kind of blew my mind. [00:45:29] Speaker A: So right before 12, I just want to bring this up. So Hope gets shot at the end of 11. Now I'm expecting her to be dead. [00:45:37] Speaker C: Yeah. [00:45:37] Speaker A: I wasn't expecting anyone to die. When Job gets killed right now she gets shot and, well, she's gone now. I'm starting to think at this point that's what he's gonna do. He's gonna kill them all until there's one left who I thought this was going. But we get to 12. [00:45:53] Speaker C: We get to 12. And then what blew my mind is that we're at episode 12. We got 13, 14, three more episodes. And Jack's like, I know who did It. [00:46:01] Speaker A: Yeah. [00:46:02] Speaker C: And if you can't figure it out, I'm not telling you. [00:46:04] Speaker A: Right. [00:46:04] Speaker C: I'm a jerk because I'm a jerk face. He tries to claim that he. He needs evidence. It won't stand up in the court. Court of law. Which is why he. [00:46:13] Speaker A: Because everybody would say he's crazy if he just said what he thinks he thinks it is. [00:46:17] Speaker C: I still think there's super control. [00:46:20] Speaker A: It's very controlling. And while there's also this. I think he wants. Instead of saying, I figured it out, I think there's some satisfaction to the idea of getting them to confess. Do you know what I'm saying? [00:46:31] Speaker C: He also points it at Doc himself, because the big clue that Jack mentions is the baby didn't cry before Hope was shot. And I didn't recognize that at the end of the. That's a great episode 11 cliffhanger. So as the listener, I was like, of course. [00:46:45] Speaker A: Of course. Right? [00:46:46] Speaker C: And then Jack explains, because it didn't dare cry, Doc doesn't get it. And he's like, well, if you can't get it from there, I'm not telling you. So, yes, it has to do with the. Keeping playing the cards close to his vest. But he's also kind of digging into Doc there too. [00:46:59] Speaker B: See, I caught that. But the baby cried twice. I don't know if you guys remember that, but the baby did cry twice. [00:47:05] Speaker C: Oh, you just thought it had a premature. [00:47:08] Speaker B: Yes, I just thought it was like, I'm gonna do all my crying now for the evening, so I don't to do it later. [00:47:15] Speaker A: Someone's gonna die later, but I gotta get a nap. I love that moment where he goes, wait a minute. The baby didn't cry because I had the same reaction. Joshua did. Like, oh, that's right. It didn't. So I think it's brilliant piece of writing. [00:47:30] Speaker B: I also think there's maybe. No, I take it back because that. That clue indicates. I was gonna say that the Jack is like, I got it narrowed down to maybe one or two ideas. And if I just say, I know. Let's see what shakes loose. [00:47:42] Speaker A: We see that that happens on Law and Order sometimes. It's a trick by the DA but. [00:47:47] Speaker C: He goes down the list here where he says, I know who the killer is. I know where the baby is. I know where to put my finger on the baby. Which is kind of a weird way to phrase it. But he knows who killed Job, how it was done. He knows who the little people are. And then a creepy line is when he says, I'd Rather be where Job and the chauffeur are right now than have them after me. [00:48:06] Speaker A: And you're like, ooh, yeah. [00:48:08] Speaker C: So again, I'm really hooked at episode 12. Again, like, what's going on? And he knows, and we still have three more episodes. So you're like, what's going on? [00:48:16] Speaker A: And when he says they were led to believe again. All right, we're still dealing with something unworldly. [00:48:20] Speaker B: Faceless little people. [00:48:21] Speaker A: Yeah. [00:48:22] Speaker B: There was a line that jumped out to me. I think it was an 11. Hope is confronting Cherry. And I'm gonna quote it wrong, because I'm not good with that, but you can't have any of us. All of us. [00:48:36] Speaker A: Yeah. Yeah. [00:48:38] Speaker B: I never really locked on to what that meant, but it made me think, in my own little speculating of what's going on, that there is this actress, Pauline West. [00:48:46] Speaker A: Yeah. [00:48:46] Speaker B: That if she is doubling one of the daughters. If you can't have all of us, like, there's more than one of me. [00:48:53] Speaker A: Right. Interesting. I just wanted a legless hooded person to float in, say, hi, I'm Pauline West. [00:49:02] Speaker B: Oh, the radio actress. [00:49:05] Speaker A: You're the one doing it. [00:49:06] Speaker B: Sorry about your face and legs. [00:49:11] Speaker A: I also love that $10,000 is still not enough money to let this go. [00:49:17] Speaker B: They still got 25,000. They would spend a dime. [00:49:20] Speaker C: That would just be a burden. That would be like, an extra week they have to stay in Hollywood to spend that money. Grandma, he doesn't care about money. He just cares about being right and sticking it to whoever's annoying him at any given moment. [00:49:33] Speaker A: Does the cliffhanger of the end of 12 work for you? Grandma threatens to kill them all. [00:49:38] Speaker C: I like it because again, it throws this sort of like, wow, is Grandma in on it now too? You know, he keeps spreading around the suspicion every time. [00:49:46] Speaker A: I think it works really well because every time you start to focus and narrow in on I got it, then something like that sounding like, wait a minute, wait a minute, let's go back. Maybe it was Grandma. [00:49:55] Speaker C: You know, we also know Grandma has her authoritarian issues, so you can also read it as just, she's trying. He's pushing back against her. So she's. She's pushing back in the only way she can by intimating that maybe they're gonna be next. But it's still a surprise cliffhanger to have Grandma talking like. And then Doc goes, grandma. [00:50:15] Speaker A: All right, what do we think? [00:50:17] Speaker C: It seems to be working on the cycle of three. I think I'm kind of glad that we clumped these at 3 it seems like they kind of, you know, add a little, add a little, and then like every third episode, they kick something into high gear. [00:50:28] Speaker A: Yeah, I agree, Tim. [00:50:30] Speaker B: Yeah, yeah. [00:50:31] Speaker A: Still on board. [00:50:31] Speaker C: Yes. [00:50:32] Speaker B: And especially as Joshua said, with being three episodes away and still having the jack is like, yeah, I know. It's for the listener. Like, I want to know. I want to catch up. [00:50:43] Speaker C: I hate you. [00:50:45] Speaker A: Who did you think it was at this point, Tim? [00:50:48] Speaker B: At the end of 12, my certainty was gone. I was still even thinking, even hospitalized, Hope could have been a potential suspect. [00:50:56] Speaker A: Well, thank you so much for listening. If you want to learn more, go. [00:50:59] Speaker B: To ghoulishlights.com ghoulishdelights.com that is where we have other episodes of this podcast. It is also where we have information about our live shows because we do live versions of old radio scripts. And in fact, you can see us at the Minnesota Fringe Festival this August. FringeFestival.org for more information. [00:51:18] Speaker C: You can also go to itunes and write a review of our podcast. We really love receiving reviews. It makes us really happy. We kind of middle aged sad men who have a podcast called Old Time Radio. We need something to cheer us up. [00:51:33] Speaker A: Just say hi. All right, well, thank you so much again for listening to the mysterious Old Radio Listening Society podcast and our special summer serial of I Love a Mystery and the Thing that Cries in the Night. Next week we'll be hearing the conclusion as we get to episodes 13, 14, and the final 15. Until then.