Episode 385: Bury Your Dead, Arizona, Parts 1 and 2

[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, crime and horror stories from the golden age of radio. I'm Eric. [00:00:37] Speaker B: I'm Tim. [00:00:37] Speaker C: And I'm Joshua. This week we kick off a seven episode discussion of the 15 part serial Bury youy Dead Arizona from I Love A Mystery requested by our mysterious patron, Mark. Thank you Mark. [00:00:53] Speaker A: Yes, thank you Mark. I Love A Mystery was an adventure serial created by legendary radio writer Carlton E. Morse. It originally ran on NBC from 1939 to 1944 and was revived on the Mutual Broadcasting Network from 1949 to 1952. [00:01:10] Speaker B: The series followed three friends, Jack Packard, the tough and charismatic leader, Reggie York, the dignified Englishman, and Doc Long, the comically excitable Texan, as they ran the A1 detective agency and traveled the world in search of adventure. [00:01:24] Speaker C: Unlike Morse's long running family drama, One Man's Family, I Love A Mystery was a fast paced, often outrageous blend of action, exotic locales, femme fatales, monsters and murder. Jim Harmon, author of the Great Radio Heroes, wrote that the program seems to be especially designed to outrage the PTA mothers of America and whiten the hair of child psychologists. The monsters and murderers were not cleaned and prettied up as on television and contemporary comic books. Even the heroes were hardly symbols of purity injustice. [00:02:01] Speaker A: At the height of its popularity, the show inspired three Columbia Picture films and even influenced later mystery storytelling. Hanna Barbera, Scooby Doo borrowed its formula of presenting seemingly supernatural mysteries with ultimately logical explanations. [00:02:16] Speaker B: Sadly, almost all of the original episodes are lost. What survives are fragments and two complete serials, the Thing that Cries in the Night, which we discussed in episodes 39 through 43 of this podcast, and Bury youy Dead Arizona. These versions come from the later Mutual run in which Morse reused his original scripts. [00:02:34] Speaker C: The survival of this complete serial is thanks to radio historian Jim harmon. In the 1960s, Harmon befriended Morse, who entrusted him with a handful of transcription discs stored in his garage. These included the Thing that Cries in the Night and Bury youy Dead Arizona. Harmon transferred them and shared them with the world, preserving what would otherwise have been lost forever. [00:02:57] Speaker A: Over the years, rumors have swirled about other missing episodes hidden in private collections, hoarded by wealthy collectors, or sitting forgotten in radio station basements. But for now, these two serials remain the only complete adventures and now settle. [00:03:12] Speaker B: In for parts one and two of Bury youy Dead Arizona from I Love a Mystery, starring Russell Thorson as Jack, Jim Bowles as Doc, and Tony Randall as Reggie, with guest appearances by Louis van Rutten, Mercedes McCabridge and Robert Dryden in a broadcast originally heard on the Mutual network in 1949. [00:03:31] Speaker C: 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. [00:03:50] Speaker D: The Mutual Broadcasting System presents. I Love a mystery transpired. [00:04:23] Speaker E: Sam. [00:04:49] Speaker F: Do you see what you got us into? [00:04:50] Speaker G: Now, Jack, you couldn't hardly say it is all my fault. [00:04:53] Speaker F: I could hardly say it was all your fault. [00:04:55] Speaker G: Sure, I reckon you could say it. All right. Move over, Reggie, so's I can squat you. [00:05:00] Speaker F: Quiet. Go ahead and squat. You knew as well as I did that the police were looking for us. [00:05:03] Speaker G: Yeah, I know. [00:05:04] Speaker F: And you knew that if they found us, they intended holding us as material witnesses in the Martin murder cases. [00:05:08] Speaker G: Yeah. [00:05:09] Speaker F: And you knew that it might be months before we'd be free. But, Jack, after what happened to Cherry and Fay. [00:05:14] Speaker G: You wrote a full report on Holvis. [00:05:15] Speaker F: We all signed our names to it. Yes, but I didn't say who the murderer was. [00:05:18] Speaker G: But you said the killer was there. [00:05:20] Speaker F: The police weren't satisfied with that, as you quite well know. [00:05:22] Speaker G: Yeah, they want you to say right out that it was Job that killed the chauffeur. And it is Jerry who killed Job. Well, why didn't you say? [00:05:30] Speaker F: Because we went to the Martin house to protect Grandmother Martin's interests. Her chief interest was to keep the Martin name unsullied. Besides, Fay and Hope were gonna get well. Why brand them for life as sisters of a killer? And so the police were after us to make tell what we hadn't told. We were doing all right. We could have stayed right here as long as we'd wanted to. Never been found. But what do you have to do, Doc? [00:05:49] Speaker G: Well, doggone it, Jeff. [00:05:50] Speaker F: You have to get yourself mixed up in a drifting poker game. [00:05:52] Speaker G: But I was bored. [00:05:53] Speaker F: So you were bored. [00:05:54] Speaker G: That's right. [00:05:55] Speaker F: I was bored. So what do you do? [00:05:57] Speaker G: Well, I hunts me up a bunch of hombres and gets myself into a poker game. [00:06:01] Speaker F: You take the $25,000 reward money and lose the works. [00:06:04] Speaker G: Well, what you mean I lose the works? [00:06:05] Speaker F: Well, you did, didn't you? [00:06:06] Speaker G: Well, I got it back, didn't I? [00:06:08] Speaker F: Did I say you didn't? [00:06:09] Speaker G: Well, you act like I didn't. That 25,000 potatoes is in the money belt slung around your middle. And here you are making more fuss. [00:06:17] Speaker F: Yes, but, Doc, that isn't the idea. [00:06:19] Speaker G: Then what is the idea? I want to know. [00:06:21] Speaker F: You lost the money in a poker game. And then what do you do? [00:06:23] Speaker G: You throw a gun on the game. [00:06:24] Speaker F: And take it back again. [00:06:25] Speaker G: Well, course you took it back again. When I found out the game was crooked. [00:06:29] Speaker F: How do you know it was crooked? [00:06:30] Speaker G: Oh, that's just plain silly. [00:06:32] Speaker F: I still want to know how you knew it was crooked. [00:06:34] Speaker G: Because when Doc Long loses 25 grand in a poker game, it's got to be crook. [00:06:39] Speaker F: That's no reason. [00:06:40] Speaker G: Well, it's reason enough for me. [00:06:41] Speaker F: So now we're not only wanted by the police as witnesses in the Martin case, but you're wanted for robbery with a gun. By the way, where'd you get the gun? [00:06:48] Speaker G: Well, one I picked up around Martin House. [00:06:50] Speaker F: Where is it now? [00:06:51] Speaker G: I made a present of it to the Chinese who runs the laundry around the corner from where we is living. [00:06:56] Speaker F: Oh, but Doc, if the police ever. [00:06:57] Speaker G: Find it on him, he'll be in an awful hole. Well, that's what he for shrinking my under drawers. [00:07:01] Speaker F: Very funny. You've not only got the police buzzing around our ears, but you've got the gang that was backing that poker game out looking for us with Tommy gun. [00:07:08] Speaker G: And we're running away. [00:07:09] Speaker F: You bet we're running away. [00:07:10] Speaker G: Well, I don't like it. [00:07:11] Speaker F: You brought it on yourself. [00:07:13] Speaker G: Well, it ain't that I mind hopping freights out of town. That's kind of different. And I like things that's different. But what makes me mad is us up and running away from a bunch of 10 horned bandits. [00:07:23] Speaker F: Quite, Jack. That valley. Well, makes my gorge rise too. Where's your stance? We can keep out of the way of the police so we can fight the gangsters. But you know as well as I do that we can't do both. This town's too hot. And the quicker we get out of it, the better for everybody. [00:07:35] Speaker G: Well, it ain't my way. [00:07:36] Speaker F: It's mine. Well, I mean, Jack, if we could get just one fast round in with. [00:07:39] Speaker G: The gang before we go. [00:07:40] Speaker F: Just to make them understand we're not leaving because we're afraid of them. [00:07:43] Speaker G: Now you're talking, Reggie. [00:07:45] Speaker F: No. [00:07:45] Speaker G: And I could slip uptown and I know where we could find some of them. [00:07:48] Speaker F: No. [00:07:49] Speaker G: Yeah. I reckon when Jack says no, that's all there is to it. We apparently. What time is this freight that we're catching pull out? [00:07:57] Speaker F: I don't know. And we're just sitting here in this boxcar until it does. [00:08:00] Speaker G: Yes, sure a nice night for dirty work. Man, is it foggy? [00:08:05] Speaker F: Bloody well have to keep our eyes peeled. Freight could slip by us in this soup and we'd never even know it. [00:08:09] Speaker G: You know what makes me so blame mad about this? [00:08:12] Speaker F: What's that? [00:08:13] Speaker G: Well, here we come down to Hollywood for no other reason than to spend 25,000 bucks. Did we spend it? [00:08:19] Speaker F: Not one cent. [00:08:20] Speaker G: Not one dog gone since. First we get mixed up in the Martin murders and now we gotta sneak out of town. I swear to my grandma, it's harder to spend 25 grand. [00:08:30] Speaker F: Shut up. Huh? What's the matter? Somebody outside the car? Yeah, get down behind those bales of hay. Right on. [00:08:36] Speaker G: Well, probably just want a yard bull. [00:08:38] Speaker F: I don't care who it is. We don't want to be seen. [00:08:40] Speaker E: Yeah. [00:08:43] Speaker F: Are you sure, Jack? [00:08:44] Speaker E: I don't hear anything. [00:08:45] Speaker F: Yeah, there's somebody out there, so keep still. Hey, I see a flashlight. Well, hold it. Keep down. [00:08:55] Speaker E: Nothing in this car but three, four bales of straw. Jack. [00:09:00] Speaker F: Shut up, you fool. But, Jack, I know that feller's voice. [00:09:02] Speaker G: He's one of the gang. [00:09:03] Speaker F: What? I'm a spanked hypnosaurus if he ain't. He flashed his light in here. He was looking for something, all right. Of course he was looking for us. [00:09:10] Speaker G: That's great. [00:09:11] Speaker F: Huh? [00:09:11] Speaker G: What you mean, that's great? [00:09:13] Speaker F: I mean, if the gang is that anxious to find us, they're gonna be watching every freight that leaves these yards. But look here. Then maybe we'll have a go at them after all, huh, Doc? [00:09:19] Speaker G: Now you're talking. How about us piling out of here right now? [00:09:22] Speaker F: Listen, you two, you're playing with dynamite. Now let it alone, Jack. This isn't like you. [00:09:26] Speaker G: Yeah, what's the matter? You fella, you act to me like you got your running shoes on. [00:09:31] Speaker F: I'm telling you, if you don't get out of this town quick, we're gonna end up in jail or in the slab at the morgue. [00:09:36] Speaker G: You call that any way to talk? [00:09:37] Speaker F: Had another thing. I don't want anybody to see us climb up on that fort. You mean they'll follow us out of town? What about it, Doc? [00:09:43] Speaker G: Yeah, you got something there for 25,000 iron men. Them mugs had followed us to kingdom come. [00:09:48] Speaker F: Exactly. [00:09:49] Speaker G: Of course, I hope they do. I'm still mad about them. Euchre and me into a sucker poker game. [00:09:54] Speaker F: Well, forget your man. I don't want to be trailed all over the country. Hold up. [00:09:58] Speaker E: What's the matter now? [00:09:59] Speaker F: They're back. Hot dog, listen. [00:10:02] Speaker E: All right, climb in, boys. [00:10:04] Speaker G: It's him again. [00:10:05] Speaker F: Shut up. Tony, your lookout. [00:10:08] Speaker G: Keep a lookout for the yard bulls. [00:10:10] Speaker E: Give me a foot up and then close the door. [00:10:11] Speaker F: Close the door. Shut up. All right, Tony, shut the door. [00:10:20] Speaker E: All right you rats, come on out. No use stalling. We know you're in here. There's five of us and only three of you. And we've come to do a job. So come on out and come get it. [00:10:31] Speaker G: You mean there's only five of you? [00:10:33] Speaker E: Well, hello dark love. [00:10:35] Speaker G: Hello lefty honesty. Is that all you brung along? Five? [00:10:39] Speaker E: That's plenty. Come on out. [00:10:41] Speaker G: Well, say we do come out. What then? [00:10:44] Speaker E: Use your imagination. [00:10:45] Speaker G: Ain't got much. [00:10:46] Speaker E: Well, I can promise you it'll make nice juicy reading on the front page of your hometown newspaper. [00:10:52] Speaker G: And man, do I love getting my name on the front page of the newspaper. Which is what's the matter with the rest of you outfits. Are they deep and dumb. [00:11:00] Speaker F: They ain't here to talk. Uh huh. [00:11:02] Speaker G: They're here for something. Oh, I bet. [00:11:04] Speaker E: Kind of bets you make don't mean much. Says which you made the biggest mistake of your life when you held up that poker game. We've come to get that 25 grand and teach you better manners. [00:11:15] Speaker G: Well, how about beginning? How about starting out by turning on your flashlight? [00:11:19] Speaker E: No flashlights. This night's work's going to be done in the dark. [00:11:22] Speaker G: As to. Too bad you can't do a little gun shooting, ain't it? Yeah, yeah, on account of you gonna need them. But you dash them on account of that every, every bull in this yard would be down on you. [00:11:34] Speaker E: Knives are better for this kind of a job anyway. [00:11:36] Speaker G: Yeah, knives, huh? [00:11:38] Speaker E: All right, you stalled long enough. Now come on out. [00:11:40] Speaker G: Oh, we ain't quite ready yet. [00:11:42] Speaker F: You're as ready as you'll ever be. [00:11:43] Speaker G: Not quite. You see, my two partners is kind of maneuvering into position. [00:11:48] Speaker E: What's that? [00:11:48] Speaker G: Yeah, you see, all the time that we've been a gassing, Jack and Reggie have been crawling around back of you so's we can attack front and back and kind of ball you up. [00:11:56] Speaker E: You're crazy, Beast. [00:11:57] Speaker F: Johnny. [00:11:57] Speaker G: You ready, Jack? [00:11:58] Speaker F: Let's go. Ricky, you all right? I've got one more to polish off. [00:12:17] Speaker G: Doggone, I didn't know when I had so much fun. [00:12:20] Speaker H: Anybody hurt? [00:12:21] Speaker F: Never mind that. Count the bodies, see if we got them all. [00:12:24] Speaker G: Here, here. Wait a minute, Jack, I got Lefty's flashlight. Here you are. [00:12:29] Speaker F: 1, 2, 3, 4, 5. Yeah, that's all. [00:12:32] Speaker G: And it's nice and massive. Busted noses I've about seen. [00:12:35] Speaker F: What do we do now, Jack? We get that lookout bird outside the car. [00:12:38] Speaker G: Well, that means we got to get this door open. Give me a hand, Reg. Crunch. [00:12:41] Speaker F: Now, just a minute. When you get the door open, let me do the talking, okay? [00:12:45] Speaker G: Come on, Reggie. Open her up now. [00:12:51] Speaker E: That you, ley? [00:12:52] Speaker F: Yeah, I'm coming down. [00:12:56] Speaker E: Sure didn't take you long to do the job, eh? [00:12:58] Speaker F: No, it didn't, did it? Here's a little present for you. Sure. Get him, Jackie. Harris. Come on down. Help me throw him in the car. Yeah. [00:13:08] Speaker G: Come on, Reddy. [00:13:09] Speaker F: Right out. Let me give you a hand, Jack. Grab hold. Up. Up with him. All right, now push the door shut. Let me get my shoulders. Wait. Listen. Never mind the door. Here comes the freight. [00:13:27] Speaker G: Come on. [00:13:27] Speaker F: Get over at the track. [00:13:28] Speaker G: Hey, look out. We don't get separated in the fall. [00:13:30] Speaker F: There's a headlight. She's moving slow. [00:13:32] Speaker G: I say, this ought to do it. [00:13:33] Speaker F: Yeah. Keep out of the headlights. We don't want the train crew to see us. Let the engine get by and then start looking for an open box car. [00:13:38] Speaker G: Here she comes. [00:13:47] Speaker F: Here we are, Jack. [00:13:48] Speaker E: Here's an open box car. [00:13:49] Speaker F: Run for it. [00:13:50] Speaker H: Get in. [00:13:50] Speaker G: Hey, hurry. She's taking up speed. [00:13:53] Speaker F: Make it ry I go. [00:13:56] Speaker G: Give me a hand, Jack. [00:13:58] Speaker F: Up with you. Thanks. Okay, doc. Give me a lift. Up with you. [00:14:07] Speaker G: And here we are. [00:14:08] Speaker H: So here you are. [00:14:09] Speaker G: Hey, I said, hey. [00:14:10] Speaker H: Who said that? I said, why not, Jack, There's a. [00:14:13] Speaker F: Girl in this foxconn. [00:14:14] Speaker H: Why not? [00:14:15] Speaker E: Doggone. [00:14:16] Speaker G: Female riding a freight train. [00:14:17] Speaker H: Yes, I am female. A dangerous female. So watch out. [00:14:23] Speaker F: It. [00:15:05] 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. Frank McCarthy speaking. This program came from New York. This is the Mutual Broadcasting System. The Mutual Broadcasting System presents I Love the Mystery. [00:16:18] Speaker H: Sam. [00:16:58] Speaker D: A new Carlton Morse adventure thriller. [00:17:19] Speaker H: It is unfortunate you chose this boxcar. [00:17:21] Speaker F: Why? [00:17:22] Speaker H: Because this car is occupied by the Maestro and myself. [00:17:25] Speaker F: That's all right. You won't bother us. [00:17:26] Speaker H: But you bother us. [00:17:27] Speaker F: Did you say the Maestro? [00:17:28] Speaker H: I did. [00:17:29] Speaker G: You mean there's somebody else in this here freight car besides you? [00:17:32] Speaker H: The Maestro? [00:17:33] Speaker E: Yes, a man. [00:17:34] Speaker H: A very great man. [00:17:36] Speaker F: What's a very great man doing riding in a boxcar? [00:17:38] Speaker G: Yeah. And what about you? You a female hobo? [00:17:41] Speaker H: That is insult. [00:17:42] Speaker G: Well, why is it most folks at grads riding a freight trains is bendle stiff? [00:17:46] Speaker H: I am not bindle stiff. [00:17:48] Speaker G: I will have you know not, huh? [00:17:49] Speaker F: No. [00:17:50] Speaker H: The Maestro and I have temporary financial difficulties. [00:17:54] Speaker F: Financial difficulties, huh? [00:17:56] Speaker H: That is true. [00:17:56] Speaker G: But see here. [00:17:57] Speaker F: Where is this Maestro person right now? [00:17:59] Speaker H: He is asleep. [00:18:00] Speaker F: So you're out of cash. So you and the Maestro are trying to get somewhere by freight, is that it? [00:18:04] Speaker H: Yes. Business is not good. [00:18:07] Speaker F: Well, just what is your business? [00:18:08] Speaker H: I am dancer. The Maestro is great magician. [00:18:12] Speaker G: Magician? You mean one of them fellas that pulls rabbits out of a hat? [00:18:15] Speaker H: Oh, pull rabbits out of hats. [00:18:18] Speaker G: What does he or don't he? [00:18:19] Speaker H: The Maestro don't pull rabbit out of hats. He is great man, I tell you. [00:18:23] Speaker G: The Maestro. Your husband. [00:18:25] Speaker H: My husband? [00:18:26] Speaker G: Yeah. You and him. [00:18:27] Speaker H: Mary, that is preposterous. [00:18:28] Speaker G: Oh, it is? [00:18:29] Speaker H: The Maestro is not married to any woman. What kind of a man do you think the Maestro is? [00:18:33] Speaker F: That's what we're trying to find out. [00:18:35] Speaker H: That is why many people try to find out what kind of man is Maestro. But nobody ever has. [00:18:41] Speaker F: You been with him long? [00:18:42] Speaker H: Two, three years? I don't know. [00:18:44] Speaker G: You've been tagging at Maestro around for two, three years and you ain't married to. [00:18:48] Speaker H: I most certainly am not. That is insult to the Maestro. [00:18:52] Speaker G: Oh, you think you ain't good enough? Furry? [00:18:54] Speaker H: No woman is good enough for the Maestro. I am best woman there is, and even I am not good enough for it. [00:18:59] Speaker F: I say he must be quite a chappie. [00:19:01] Speaker G: Well, how about her striking the king couple of matches and having a look. [00:19:04] Speaker H: It's no. You do not like matches? [00:19:05] Speaker G: Uhuh. Why not? [00:19:06] Speaker H: Because it will disturb the Maestro. [00:19:08] Speaker F: What's your name? [00:19:09] Speaker H: Narsha. [00:19:10] Speaker G: Nasha. [00:19:11] Speaker F: Huh? [00:19:11] Speaker H: You mind? [00:19:12] Speaker G: Who, me? No, it's okay by me. [00:19:15] Speaker F: Nasha. What is that? Russian? [00:19:17] Speaker H: No, I am not Russian. [00:19:18] Speaker F: Your dialect sounds Russian. [00:19:20] Speaker H: I am not Russian. I. There is the Maestro. [00:19:23] Speaker E: Nasha? [00:19:24] Speaker H: Yes? Maestro. [00:19:25] Speaker E: Who are you talking to? [00:19:27] Speaker H: I do not know. [00:19:28] Speaker E: You don't know? [00:19:29] Speaker H: No, I do not know. [00:19:30] Speaker E: Well, find out. [00:19:31] Speaker H: Yes, I will. Who are you? [00:19:34] Speaker F: My name's Jack Packard. [00:19:36] Speaker H: One is named Jack Packard. [00:19:38] Speaker G: I'm Doc Long. [00:19:40] Speaker H: One is named Doc Long. [00:19:41] Speaker F: And I'm Reggie Yorke. [00:19:43] Speaker H: And one is Reggie York. That is all. [00:19:46] Speaker E: What are they doing in this boxcar? [00:19:48] Speaker H: I do not know. [00:19:49] Speaker E: Well, ask them. [00:19:50] Speaker H: What are you doing in this boxcar? [00:19:52] Speaker F: Just going for a ride. [00:19:54] Speaker H: The one named Jackpocket say they are going for a ride. [00:19:57] Speaker E: Tell them to get out. [00:19:59] Speaker G: Hey, who does he think he is? [00:20:00] Speaker H: He is the Maestro. He said get out. [00:20:03] Speaker G: Well, tell him to take a jump at himself. [00:20:06] Speaker H: The one named Duck Long say, go take a jump at yourself. [00:20:10] Speaker E: What's that? [00:20:10] Speaker H: He said go take a jump at yourself. [00:20:13] Speaker E: Oh, he did? Denny. [00:20:14] Speaker H: Yes, that's what he said apparently he. [00:20:17] Speaker E: Doesn'T know who I am. [00:20:18] Speaker H: I guess he don't. Shall I stick a knife in him? [00:20:21] Speaker F: Oh, look here. [00:20:22] Speaker E: You do and I'll whale the daylights out of you. [00:20:25] Speaker H: Then what I do? [00:20:26] Speaker E: You just shut up and let me go back to sleep. [00:20:29] Speaker H: The Maestro is great man. He needs his sleep. [00:20:32] Speaker F: Hey, Maestro. [00:20:33] Speaker E: Who said that? [00:20:34] Speaker F: I did. Come on out. Be sociable. [00:20:36] Speaker E: Apparently you don't know who I am. [00:20:39] Speaker F: Sure you're the Maestro. Come on up the doorway. [00:20:43] Speaker E: Very well, very well. Anything to make for peace and good feelings. [00:20:49] Speaker F: Well, how do you do? Care to sit down on the door and dangle your feet? [00:20:53] Speaker E: No, I would not care to dangle my feet. Nasha. [00:20:56] Speaker H: Maestro. [00:20:56] Speaker E: Go bring that packing box. [00:20:58] Speaker H: Yes, Maestro. [00:21:00] Speaker E: Nasha says there's three of you. [00:21:02] Speaker F: That's right. Doc here. [00:21:03] Speaker G: Hi, Maestro. Kid Reggie. [00:21:05] Speaker F: My pleasure, Maestro. And myself, Gramps. Hey, fella, do we sound like tramps? [00:21:11] Speaker H: The pecking box, Maestro. Will you be comfortable? [00:21:15] Speaker E: Certainly I will not be comfortable. When was a man ever comfortable seated on a packing case? [00:21:21] Speaker H: Your star has not risen yet, Maestro. But it will. It will. [00:21:28] Speaker E: These men say they are not tramps. [00:21:30] Speaker H: They want to know if I am bindle stiff. I am insult. [00:21:37] Speaker G: Eh, what's your titties? Only naturally important folks don't ever ride around in a box car. [00:21:42] Speaker E: I beg your pardon? [00:21:44] Speaker G: Do they? [00:21:44] Speaker E: I am an important person. I am riding in a box car. [00:21:48] Speaker F: Important, huh? Nash here said you were a two bit magician. [00:21:51] Speaker H: I did no such thing. Say that. I said he is great man. [00:21:54] Speaker E: And gentlemen, she is right. I am a great man. [00:21:58] Speaker G: Don't mind admitting it yourself. [00:22:00] Speaker E: I do not. [00:22:01] Speaker F: I wish there was some light. I'd like to get a look at you too. [00:22:03] Speaker E: But why? [00:22:04] Speaker F: You sound like a pair of phonies to me. [00:22:06] Speaker H: He say phonies? Shall I stick a knife in him? [00:22:09] Speaker E: I'll wheel the tar out of you if you do. [00:22:10] Speaker H: He say phonies. [00:22:12] Speaker E: You are Mr. Packard? [00:22:13] Speaker F: That's right. [00:22:14] Speaker E: You think, Mr. Packard, you could tell whether we are phonies if you could see us. [00:22:19] Speaker F: Yes. [00:22:20] Speaker E: Perhaps you'd like us to describe ourselves. [00:22:23] Speaker F: Sure. We aren't doing anything in particular. [00:22:25] Speaker E: Describe yourself. [00:22:26] Speaker H: Yes, I am very beautiful. I am very exotic. My hair and eyes are black as night and my mouth is red. I am straight and light and my body is so flexible. I can stand straight and touch my forehead on my knees. Or I can bend backwards and touch my head to the floor. I am built like a young boy, but my legs are nicer. I am so proud of my legs. And I dance there's no other girl can dance. [00:22:56] Speaker G: OO and hot dog. [00:22:58] Speaker H: You don't believe me? [00:22:59] Speaker G: Oh, sure I believe you. Only pretty soon I'm going to wake up and take another drag on the opium pipe. [00:23:05] Speaker F: Does sound a bit incongruous, doesn't it? [00:23:07] Speaker E: Marcia hasn't begun to tell you her accomplishments. [00:23:10] Speaker F: She says she is not Russian. [00:23:11] Speaker E: She is not. She is from one of the states, close to the Russian frontier. Does she sound phony? [00:23:19] Speaker F: Well, you have to. You admit she's hard to believe. What about yourself? [00:23:23] Speaker E: My hair is silver gray. I'm extremely fat and ugly man. I'm neatly dressed, but shabby. I'm a sensualist, but I have strong, fine hands. I'm a magician. Yes, but I'm more than a magician. I'm a student of philosophy, of mysticism, of higher ethics. Are you a moral man? I'm neither moral nor immoral. I am unmoral. [00:23:53] Speaker F: I say, maestro, what do you mean you're a student of mysticism? [00:23:56] Speaker E: You wouldn't believe me if I told you. [00:23:57] Speaker F: Do you mind explaining? [00:23:59] Speaker E: Yes, yes. Your lack of understanding would only convince you. I am a charlatan. [00:24:05] Speaker F: Why are you on this freight train? [00:24:06] Speaker E: Why are you? [00:24:08] Speaker F: Circumstances. [00:24:09] Speaker E: Exactly, my friend. Exactly his circumstances. [00:24:13] Speaker G: Hey, look, Ian, how do you and Nasha here happen to be traveling around together? [00:24:17] Speaker E: You're very curious about other people's affairs, aren't you? [00:24:20] Speaker G: Okay, I can take a hint. [00:24:22] Speaker E: On the other hand, I don't mind in the least telling you. We all need money from time to time to keep body and soul together. When finances are bad, I suffer the indignity of going on the stage to perform simple action of magic before the public. Nasha is part of my paraphernalia. [00:24:43] Speaker G: Oh, I get it. She's a girl that you saw in half and the girl that escapes from locked trunks. Things like that. [00:24:49] Speaker H: And I dance. That is what I like to do best. Dance. [00:24:53] Speaker F: In other words, you're a common garden variety of magician with a lot of highfalutin ideas. [00:24:57] Speaker E: You're trying to insult me, Mr. Packard. [00:24:59] Speaker F: Perhaps. [00:24:59] Speaker E: Well, you won't succeed. When you talk in that, I consider you stupid. An intelligent man never pays attention to stupidity. Thanks. [00:25:10] Speaker G: Well, if you're doggone smart, go ahead and show us something. [00:25:13] Speaker E: Show you something? [00:25:14] Speaker G: Sure. If you're such a high muck amok in this here mysticism stuff, go ahead and show us something. [00:25:20] Speaker E: That's a very dangerous thing to say, young man. [00:25:22] Speaker G: Yeah? Why? [00:25:24] Speaker E: Because I might do it. [00:25:25] Speaker G: Well, go ahead. What's holding you back? [00:25:28] Speaker E: Nasha. [00:25:29] Speaker H: Yes, maestro? [00:25:30] Speaker E: Remove that cloak. Yes, Maestro, have you done so? [00:25:36] Speaker H: Yes, Maestro. [00:25:37] Speaker E: Then lie down at my feet. [00:25:39] Speaker H: Yes, Maestro. [00:25:41] Speaker E: There. You cannot see the girl, but she's lying curled up at my feet. Nasha. [00:25:50] Speaker H: Yes, Mastru? [00:25:52] Speaker E: You are thinking only what I am thinking. [00:25:57] Speaker H: Yes, master. [00:25:59] Speaker E: You are going to let me put this rawhide leash about your neck, yes? [00:26:06] Speaker G: Yes. [00:26:08] Speaker E: I stroke your hair. Stroke your hair. Now it is no longer human hair. It is the hair of an animal. The mane of a tigress. The mane of a tigress. You are going to be a tigress when I say so. You are going to be a tigress. You are a tigress. [00:26:37] Speaker F: Hey, Zach. It's snarling. [00:26:41] Speaker G: Hey, look at its eyes. [00:26:43] Speaker F: Look at its eyes. [00:26:44] Speaker G: To their shining, shining in the dark. [00:26:49] Speaker E: That's enough. That's enough. [00:26:50] Speaker F: Nasha. [00:26:51] Speaker E: Nasha, You're a woman. [00:27:01] Speaker H: And so sleepy. [00:27:03] Speaker E: Sleep, Nasha. Sleep. Sleep, dog. [00:27:10] Speaker F: Come. I don't like it. I don't like it a bit. [00:27:14] Speaker E: Now she's asleep, gentlemen. She won't awaken. You don't need to lower your voices, boy. [00:27:20] Speaker G: I durn near jump clean out of this boxcar. [00:27:24] Speaker F: Well, Mr. Packer, what do you think you were doing? [00:27:26] Speaker E: Just a very short visit into the realm of mysticism. A very short and unimportant visit. [00:27:35] Speaker F: And you want us to believe you turned that girl into an animal? [00:27:39] Speaker E: Why should you believe anything except what you heard and saw? [00:27:42] Speaker F: It was too dark in here to see anything. [00:27:44] Speaker G: But her eyes, Jack. I seen her eyes. They was blazing green and yellow in the dark. [00:27:48] Speaker F: I saw that and that horrible snarling. Yes, I heard the snarling. [00:27:51] Speaker E: And you don't believe. [00:27:53] Speaker F: No, I don't believe. [00:27:55] Speaker E: You don't believe your eyes. You don't believe your ears. Would you believe your sense of touch? [00:28:02] Speaker F: I might. [00:28:03] Speaker E: We'll see. I clapped my hands twice. [00:28:11] Speaker F: Hey. [00:28:11] Speaker G: Hey. [00:28:12] Speaker F: What was that? [00:28:13] Speaker E: A man has just been murdered. [00:28:15] Speaker F: Murdered here in this boxcar. [00:28:16] Speaker D: Nuts. [00:28:17] Speaker E: Mr. Packard, reach over here at my feet where Nasha was lying. [00:28:22] Speaker F: Oh, sure. Why not? What's that? [00:28:25] Speaker E: A man with a knife in his heart. You are touching the knife. [00:28:30] Speaker F: Yes. A man with a knife in his heart. You believe this isn't magic. It's murder. [00:29:19] Speaker D: The Further Transformation 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. This program came from New York. This is the Mutual Broadcasting System. [00:30:07] Speaker A: That was episode one and two of Bury your Dead, Arizona from I Love a Mystery here on the Mysterious Old Radio Listening Society podcast. Once again, I'm Eric. [00:30:18] Speaker B: I'm Tim. [00:30:19] Speaker C: And I'm Joshua. [00:30:20] Speaker A: All right, here we go. I'm gonna capsulate, encapsulate a couple of thoughts. First of all, if you listen to this podcast, you know how much I love I Love a Mystery. It is the first show that really, really sucked me into old time radio, and I'm a huge fan. Even though there's very few remaining. We did the Thing that Cries in the Night here on this podcast. That being said, I'm going to try to not nerd out too much, but. [00:30:50] Speaker B: It'S a podcast, Eric. [00:30:52] Speaker A: Yeah, there's that. First thing I want to say is where that started this episode. It doesn't matter what they're saying at the beginning because it's just exposition to explain where the last episode left off, which was the Thing that Cries in the Night. So if you listen to that, this is the next episode of the series. I just wanted to say that for everybody's like, boy, this just jumps in with a bunch of information we don't know. [00:31:18] Speaker C: But Morse frequently puts whole episodes between episodes. [00:31:24] Speaker A: Yes. [00:31:24] Speaker C: That sound as if maybe you missed an episode that you didn't. [00:31:28] Speaker A: Right. [00:31:28] Speaker C: But I just mixed in with what actually happened in the last serial is stuff that we never heard, which is Doc getting into the gambling game, losing that money, stealing it back at gunpoint, this very exciting lost episode that was actually just never written. [00:31:44] Speaker A: Right. And so, but just for people who are new to I Love a Mystery. That first four minutes, you must have been like, geez, I guess I needed to know. No, you don't. [00:31:54] Speaker B: Don't take a lot of notes on it if you haven't heard Thing that Cries in the Night, because mild spoilers, I guess. [00:32:00] Speaker A: Right. Second thing I want to say, having done this podcast for 10 years, a very interesting thing has happened, and that is I have a love of certain shows. And as we explore all of these shows for 10 years, I discover, oh, I love. I love a mystery. I love CBS Radio Mystery Theater. I love these things. But this podcast has exposed me to, oh, there's a lot of stuff out there that's really a lot better. Quiet, please. Suspense Escape. There is a lot of really, really good writing performance and radio drama out there that I didn't know existed. Right. So after doing this for 10 years and you go back and you listen to CBS Radio Mystery Theater, you go, oh, okay. Comparatively. Right. That being said, to prepare everybody for the next seven episodes, of this podcast. The key to I Love a Mystery is listen loosely. If you put a magnifying glass on this. Yup. It's full of weird holes and jumps in logic and so much deus ex machina. And think of it more as the Shadow than a really deep episode of Quiet Please. Right. It's not late. [00:33:28] Speaker C: A three hour plus episode of the Shadow. [00:33:31] Speaker A: Right? It is for fun, right? [00:33:34] Speaker C: Yeah. And I think you make a really good point is that I don't think it's fair to compare Quiet Please and Island of Mystery because they're setting out to do such dramatically different things. They're apples and oranges. [00:33:46] Speaker B: Say, put a pin in that and I'll revisit that and respond at the end. [00:33:50] Speaker A: Yeah. I think that I say that because out of the fear of someone who listens to our podcast and we're doing this and they go, what are they doing? This is. [00:34:01] Speaker C: Have you heard some of the other episodes we've done on this podcast? [00:34:04] Speaker B: This is no Dr. Tim detective. [00:34:06] Speaker A: I think it's personal because I love a mystery so much. And then I'm like, okay, okay. It's not for everybody. So just. You know what I mean? Like, so. And I just want everyone to also. It's a slow start. This thing picks up steam after the huge amount of exorcism. [00:34:22] Speaker C: This is where we're gonna be different. Because this second episode is my favorite episode of I Love a Mystery, period. [00:34:32] Speaker A: Nice. [00:34:33] Speaker B: The first episode, specifically, I admired it for its brazenness. We're gonna embrace. This is gonna be a shotgun of exposition of both things that you may need to know, things you don't need to know. And we're just going to go fast. That's the secret of how we do this. [00:34:53] Speaker A: Right. [00:34:54] Speaker B: And put it in some context that's really arbitrary of we're in vague danger, something bad is happening, we have to fight some guys. It doesn't really matter. And listening to it, I just. I was on board of like, okay, we got to do this. I'll just get through it. And then the last note of yes, I am female. A dangerous female. So watch out. Right. I want everyone to introduce themselves to me that way from now on. That brought me so much joy. And that's the cliffhanger. [00:35:28] Speaker C: Watch out, Russian Mercedes McCambridge. [00:35:32] Speaker A: So full disclosure. Also, I have not listened to this in probably eight, nine years. And I was like, oh, I thought I really remembered this. And I didn't. I mean, I remember the gist, but it was really fun to listen to Again, you Know how you think you know something really well and go, I'm not going to listen to that. I've listened to it 10 times. So I didn't realize until this. Sit down. Oh, the Russian woman's Mercedes McCambridge. I knew she was in it. Well, I got to be careful not to spoil things. But. And then this one, it was about halfway through the second one it went because she makes a. A noise that you realize, oh, that's Mercedes McCambridge. [00:36:14] Speaker B: Now, this is creepy. [00:36:15] Speaker A: No, not the creepy noise. No, the. But like a laugh or a giggle or something. And you can hear her voice. [00:36:22] Speaker G: Oh. [00:36:23] Speaker A: So I want to give her kudos for really good accent and different characters because she's so distinguished. [00:36:30] Speaker B: And moving on to that second episode, I could have listened to them introduce themselves to each other for an hour. [00:36:37] Speaker A: Okay. [00:36:37] Speaker B: This gag is hilarious. [00:36:39] Speaker A: So you have tools as a writer of radio drama to how to put in people's heads what it is you want them to see. Right. And there's a bunch of different ways to do it. This one literally is. Hey, characters, describe yourself. [00:36:55] Speaker B: We're in the pitch black room. [00:36:56] Speaker A: We're in the pitch black room. And that was how Morris decided to get in our heads. What they look like. It's fun, but also incredibly clunky Way to do that. [00:37:08] Speaker C: I feel he is being a little winky. [00:37:14] Speaker A: You're a little winky. My favorite Teletubby Jose Arch. [00:37:19] Speaker C: Then that's kind of gross, too. I think he's aware of what he's. Because I feel like I love a mystery. Like so much of the pulp magazines it's modeled on has two audiences it's constantly aiming for, and that is the adolescent boys and semi literate horny men. [00:37:42] Speaker B: You're looking around the table here. [00:37:44] Speaker C: And so it's always threading that needle. Because, I mean, really, that's part of the humor, is to get Mercedes McCambridge in this Russian accent to describe her ravishing beauty in every part of her own body out loud. You know, there's some young boys going. [00:38:03] Speaker B: Oh, tell me how fat this guy is. [00:38:06] Speaker C: I wish I were in a dark box car right now. [00:38:10] Speaker B: Don't come in, Mom. [00:38:13] Speaker C: I'm listening to the radio. So I think that's a through line throughout this. And so I also feel like he's aware that. Yeah, I came up with a great excuse for my audience to have this woman describe her and have all the men imagine. Imagine it in the audience and are characters comment on it. [00:38:35] Speaker A: I love that her attributes are not only physical, like Color of her lips and how beautiful she is, which she says herself. But just to add a little gravy on that. You want to see how flexible I am. That's. That's added to it. [00:38:51] Speaker C: I am built like a young boy, but my legs are nicer and I dance as no other girl can. [00:39:00] Speaker B: As they begin to suggest here that the darkness is not just a convenient narration tool, it's a character and a narrative thing on its own. [00:39:09] Speaker A: It's hard when you do the painting in your head, when the space is in your head. I think there's a fail in this writing wise that he comes forward, meets them and you don't realize that he can't really. It's so dark, he can't see them. So you go back for it, like, well, you're. It's so dark I can't see you. So you describe yourself and you gotta go, oh, wait. Because you see the door open and you see the light at least a little bit coming in. [00:39:40] Speaker C: That's so black shadow. [00:39:42] Speaker A: Yeah. [00:39:43] Speaker C: You can't make it. [00:39:44] Speaker A: But I didn't until that point. You know what I'm saying? [00:39:46] Speaker C: No, he's just literally sitting on the front of the train engine, laying down the tracks in front of him as he writes. You get the sense that he is clever enough and he has such a gift for writing interesting, funny characters that he had a whole career where he never had to write a second draft. [00:40:05] Speaker A: Right. [00:40:07] Speaker C: Well, he was straight on the air. [00:40:09] Speaker A: Just so you know. What was this is made 5,000 scripts a week for 40 years. And that's not accurate everywhere. [00:40:16] Speaker C: He was not fine tuning these. [00:40:18] Speaker A: No. He was cranking out so many scripts with One Man's Family, this and other shows. My point is though, hey, come forward, talk to me. What you envision in your head is at least you can see something. [00:40:30] Speaker B: You're not instinctly going to think, this is a completely dark room. I'm going to imagine this. [00:40:33] Speaker A: And then they go back for it and tell you that and you're like, ah, if I wish I would have known that before now so that I could have pictured that differently because it was awkward and clunky. But you're so right, Joshua just like done like that sound a typewriter makes when you pull the grip out of the favorite. He's like, go, go, go. Kids are standing next to him. Little interns is running scripts to radio stations. [00:40:59] Speaker C: To me, these two episodes are an interesting pair because they represent the two poles of I love a mystery that are usually woven together into a single episode. But here are separated. Episode one is that Boy or Men's Adventure. Rough and tumble. A lot of machoness, a lot of chest beating. Like we're gonna go find that gang and we're gonna beat em up and we're running from the cops and from gangsters. We're just what every boy or semi literate man wants to be. Who's listening to this? And then episode two is just gonzo weird and a little sexually deviant. Surreal and very darkly comic. I mean, you get to the point where he a collar on her and he's stroking her and she's making weird little noises and you're like, whoa. [00:41:55] Speaker A: The noises that make you realize it's Mercedes McCambridge. Yeah, it becomes super weird right away, doesn't it? [00:42:05] Speaker C: Doc even says it something to the effect of like, wake me up when it's time to take another hit off the opium pipe. [00:42:10] Speaker A: Right, right. [00:42:12] Speaker C: That's what that second episode feels like. It's just all of Morse's surreal comic, weird sex stuff pumped into this one episode. [00:42:23] Speaker B: I think we had discussed it a little bit prior to recording of the Maestro. Like in the scene in this second episode kind of is full on shadow villain. [00:42:34] Speaker A: Oh, yeah. There's an interesting thing that. Oh, she's Russian. And they go out of their way to say, no, she's not Russian. She's from a country close to Russia. It's on the border and they don't mention the country. I'm wondering 1950, right. When this came out. [00:42:53] Speaker C: Late 40s. [00:42:54] Speaker A: Yeah. [00:42:55] Speaker C: But I don't know if it was changed much or if those additions were added because it's recycled scripts from about 10 years earlier. [00:43:01] Speaker A: Correct. I'm wondering why the dance around of not making her explicitly from Russia. And I'm wondering if there's something social, political about that, like not Russia or a joke. It could be any of those reasons. [00:43:14] Speaker C: I felt like they just wanted to give Mercedes an out if someone criticized. [00:43:18] Speaker A: Okay, okay, there it is. There it is. That's not Russian. [00:43:23] Speaker C: I thought the same thing. I'm not enough of a history buff to know exactly what that could be. [00:43:30] Speaker A: Making allies. [00:43:32] Speaker C: But he could also be making a joke about another radio show that was on at this time. I mean, Morse is pretty savvy. [00:43:40] Speaker D: One man's family. [00:43:42] Speaker B: Or if he actually put a country there and they said, no one's going to do this, just make it Russia. What's not Russia? All right, I'll just. I'll just do the whole thing. [00:43:49] Speaker A: Right. Anyway, it was interesting. I actually, after Listening to all. All of those ideas, I think it's to give Mercedes an out. I like that. [00:44:02] Speaker B: Can you do Russian accent? No, Yugoslavian. I'm golden. [00:44:08] Speaker C: Yeah. I thought the Maestro was just immediately an intriguing villain in that the stakes are pretty low. They're pretty comic villains in the second episode until we get our final cliffhanger of Jack in the dark finding a body with a knife in it. [00:44:28] Speaker A: Right. [00:44:29] Speaker C: And so then all the silliness suddenly gels into some kind of potential threat. [00:44:35] Speaker F: Right. [00:44:35] Speaker B: I actually liked the Beat was more intriguing, which is probably more the stories I like of the. He's performing this illusion that she's curling up. She's becoming a cat. And it's an effective sort of convincing vocal exercise. But then you actually see the reflective eyes to just that little extra cell, which is more intriguing to me than. It's a dead body with a knife in it. Not to downplay dead bodies. We all love a dead body. [00:45:07] Speaker A: I know what you're saying, though. Like, you could just have him discover a dead body with a knife in it and then it disappears. [00:45:14] Speaker C: No, you're saying a better cliffhanger would be to end on a. I don't know. [00:45:18] Speaker B: Better cliffhanger. It's the one that grabbed me more. [00:45:21] Speaker C: Yeah. [00:45:21] Speaker A: Oh, her eyes are glowing. I see what you're saying. [00:45:24] Speaker C: My thinking is, if you have listened to I Love a Mystery before, Morse knows. Knows that he's going to ultimately attempt to disprove any supernatural goings on and that the audience probably already knows that this isn't that scary and wants to give them something real because he knows that Jack would be instantly dismissive of that and he needs to give something that Jack is concerned about for the cliffhanger to be proper. [00:45:51] Speaker A: Right. [00:45:51] Speaker B: Yeah, it makes sense. [00:45:52] Speaker A: That's actually. That's actually really good point. Like, this is nonsense. You're full of bs. I don't buy into this. Oh, dead guy now. I. Yeah, I get that. [00:46:04] Speaker B: But for the audience, I think both of them are points of. This is that thing that until the last episode or whatever, we're gonna have to try to guess how this happened, even if it's not that complicated. [00:46:15] Speaker C: And I think that's the appeal of these characters, particularly to young listeners, is that they can. Wherever they are in their development, they can identify more with the gullible or excitable fun Doc and Reggie, who want to believe in everything they see. Or as they're getting older or depending on their personality, they can agree more with Jack. He's like, I'm so much more mature than that. I know it's a trick. I'm with Jack. [00:46:44] Speaker A: I want to point out something. After these first two episodes, I am someone who listened to all of what's remaining and read a lot of stuff about. I love a mystery. It struck me, I believe, one of the biggest hooks to this series and this show is Doc and Reggie. The characters are really fun and really well written. And second, I want to give a huge shout out, Tony Randall's fantastic in this. Oh, yeah, I love Tony Randall. And it's really cool because the only Tony Randall I knew was Oscar's roommate. [00:47:20] Speaker C: Yeah. [00:47:21] Speaker A: And so hearing this like, oh, right, you're not that all the time. [00:47:26] Speaker C: Doc and Reggie do make an odd couple, though. They do a little foreshadowing there. [00:47:30] Speaker A: Right. [00:47:30] Speaker B: In my own personal narrative vocabulary of how I describe these things. This is the arrow model of character building, where you have a somewhat unlikable main character who is held up by the friendship of likable side characters. Like, well, Doc and Reggie like him. So if Jack sometimes does jerky, weird things. [00:47:52] Speaker A: Right. [00:47:53] Speaker B: Okay, we'll come some slack. [00:47:54] Speaker A: Right. We trust you. So if you trust him, we're good. [00:47:58] Speaker C: Yeah. As Harmon pointed out in our intro, though, they're all a little off. [00:48:03] Speaker A: Right. [00:48:04] Speaker C: What's wild in this one is just how almost aroused Reggie and Doc are at the idea of getting into some kind of physical violence with this gang. And that is the violence that's most likely to do them harm. Yet they go into full, like, shaking in their shoes mode at any suggestion of supernatural shenanigans. [00:48:27] Speaker A: But punching. [00:48:28] Speaker C: Yeah. [00:48:29] Speaker A: There's a theme, a thread throughout all the I love a mysteries, even when it goes to I love adventure or even the adventures by Morse, which aren't these characters. This whole thing of the characters are just itching. Can I please get in a fist fight? Can I please get in a fistfight now? No. No. Okay. Can I punch him now? Like, these men are just. God, I love fighting. Yeah. There's a partial episode and I can't remember. You know, there's a lot of I love a Mysteries. There's only two or three episodes that exist, not the whole thing. And I can't remember which one it is, but they're in a haystack hiding. But it's Reggie the entire time going, can we please punch somebody? I would like to get in a fight. And I look, it's really funny because he's also the Englishman, which. I like that juxtaposition. [00:49:19] Speaker C: The fight sequence is just ridiculous too. It's just all for like a minute. It feels like it. [00:49:26] Speaker A: Pretty well done, though. There's a moment in it where like, Reggie, you okay? Almost crack. Like they've gotten their guys down. You can see the space in your head that they turn around and. You know what I mean? Like, it's a good job. I can see it happening, even though it's just noises. Well, you know what I mean? Yeah, yeah, I can see it. [00:49:46] Speaker C: The timing is good. It's still. The concentratedness of it is comic. [00:49:50] Speaker A: Oh, yeah. Well, it's all those serials with the fight scenes. They speed up the film. [00:49:55] Speaker C: Yeah. [00:49:55] Speaker A: And they roll around and fly it around. And there's got to be one every 15 minutes serial. [00:50:01] Speaker C: And every. Every piece of furniture is breakaway. Someone just leans against it and it flies apart. [00:50:07] Speaker A: Yes. There's a great SCTV short movie that they did that was a serial. Should look it up. It's really funny. Every time they get in a fight scene, they're just replaying the last fight scene. [00:50:22] Speaker C: So I think for these episodes, we can't really judge them as we usually do at the end of the. A single episode. No, It's a serialized story. But I would say, how do we feel about our two cliffhangers? [00:50:34] Speaker A: The first episode, cliff hanged with, oh, I'm a woman. Right. So watch out, watch out, watch out. Not great. Second one. Second one. Fantastic. That's a great cliffhanger, Tim. [00:50:49] Speaker B: I love them both. [00:50:50] Speaker A: Yeah. [00:50:51] Speaker B: Particularly. First one was like, if this whole episode had been that cliffhanger, I'd be, I'm ready. I want to find what happens episode two. [00:50:59] Speaker C: I would say that the episode one cliffhanger is in keeping with the low stakes of episode one. [00:51:04] Speaker A: Right. [00:51:05] Speaker C: They're just like, we gotta get on a freight train. And I do think the cliffhanger was a smart one for episode two to sort of make you re. Examine these comical characters and have to ask, wait, maybe they're more dangerous than they seem. [00:51:21] Speaker A: Right. [00:51:22] Speaker C: Especially since that seems to be Nasha's tagline is, should I stick a knife in him? [00:51:28] Speaker A: How about that line? We didn't even. How does she say it? Do you wish me to stick a knife in him? [00:51:35] Speaker C: Yeah. Some variation on that. Over and over again. Yeah. [00:51:38] Speaker A: To the point where I was like, I want that to be my ringtone or I want it to become a. Or a T shirt that we make or something. Although you can't get away with that T shirt just walking around. Teachers. Do you want me to stick a knife in them? [00:51:52] Speaker C: Some. [00:51:52] Speaker A: One guy. One guy. One day. Oh, bury your dead Arizona. [00:51:58] Speaker B: I would rather have the very dangerous females. So watch out, T shirt. [00:52:02] Speaker A: Yeah. All right, Tim, tell him stuff. [00:52:06] Speaker B: Hey, thank you for listening to the first of seven of these episodes. Please, if you're not already there, go visit ghoulishdlights.com that is the home of this podcast. You'll find a whole bunch of other episodes there, including the previous run through of the Thing that Cries in the Night. If you want to compare our different takes on these cereals, you'll also find links to our social media pages, links to our threadless. No, it's not threadless anymore. It's spreadshop. I switch stores. [00:52:34] Speaker C: Spreadless. [00:52:36] Speaker B: It's not spreadless, but you can find these T shirts that we keep talking about that might or might not exist. And you'll find a link to our Patreon page. [00:52:46] Speaker C: Yes. Go to patreon.com themorals and become a patron Today you will gain instant powers. One of those is to be like Mark and make us do another I Love a Mystery serial. It's been like six, seven years since we did I Love A Mystery and many people have asked us to do it. Yeah, but they weren't patron enough for us. [00:53:10] Speaker A: I even asked and I'm not patron enough. [00:53:12] Speaker C: Nope. I said show me the money, Eric. So be like Mark and become a member of the mysterious Old Radio Listening Society today. [00:53:22] Speaker A: And if you'd like to see the Mysterious Old Radio Listening Society Theater Company performing live on stage recreations of classic old time radio drama and a lot of our own original work. We perform a lot. So just go to ghoulishdelights.com and you find out where we're performing, what we're performing and how to get tickets. And yeah, we'd love to see you out there. And if you can't make it to any of our shows because you know, not everybody lives in Minnesota. Only people that matter. No, no, no, no, no. That's such a Minnesota thing to say right there. [00:53:57] Speaker B: And to apologize immediately. [00:53:59] Speaker A: Yeah, we do record the audio of our shows and that is another perk to being a Patreon. We you get to listen to those shows. What is coming up next? Oh, right. [00:54:13] Speaker C: Part three and four of Bury youy Dead Arizona from I Love a Mystery. [00:54:17] Speaker G: Until then, watch out.