Episode 386: Bury Your Dead, Arizona, Parts 3 and 4

[00:00:16] Speaker A: The Mysterious Old Radio Listening Society Podcast. [00:00:27] Speaker B: 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. [00:00:36] Speaker C: I'm Tim. [00:00:37] Speaker D: And I'm Joshua. This week we continue our seven part presentation of Bury your Dead Arizona from I Love A Mystery. [00:00:45] Speaker B: Created by legendary radio writer Carlton E. Morse, I Love a Mystery ran on NBC from 1939 to 1944 and was revived on Mutual from 1949 to 1952. It followed Jack Packard, Reggie York and Doc long of the A1 detective agency as they roamed the world in search of adventure. [00:01:06] Speaker C: Most of the series is lost, but two complete serials survive. The Thing that Cries in the Night and the one we're listening to now, Bury youy Dead, Arizona. These recordings come from the Mutual run with scripts recycled from the original series. [00:01:18] Speaker D: And now settle in for parts three and four of Bury youy Dead, Arizona from I Love a Mystery or originally broadcast in 1949. [00:01:28] Speaker B: 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. [00:01:48] Speaker E: The Mutual Broadcasting System presents I Love the Mystery. [00:01:57] Speaker F: It. [00:02:33] Speaker E: A new Carlton Morse adventure thriller. [00:02:47] Speaker F: There's a murdered man in this boxcar. [00:02:49] Speaker G: Now do you believe? How do you believe in the power of the Maestro? [00:02:54] Speaker F: I believe you've committed murder. Doc. Yeah. [00:02:56] Speaker A: Yeah. [00:02:56] Speaker F: Jack, have you got that flashlight? [00:02:58] Speaker A: Yeah, here, I got here somewhere. Yeah, here it is. [00:03:00] Speaker G: Wait before you turn on the light. [00:03:02] Speaker F: Wait for nothing. [00:03:03] Speaker G: Just until I clap my hand twice. [00:03:06] Speaker F: Go ahead, clap your hands twice. [00:03:07] Speaker G: Thank you. [00:03:10] Speaker A: There. [00:03:11] Speaker G: Now turn on the light. [00:03:12] Speaker F: You better. Jack. Jack. [00:03:14] Speaker H: Where is it? [00:03:15] Speaker F: Where's that body? [00:03:17] Speaker G: I clapped my hands twice. [00:03:19] Speaker F: It is gone. You're crazy. There was a dead man lying right on that spot less than a minute ago. What became of him? [00:03:23] Speaker G: My son, the powers of the mystic are beyond your comprehension. Rubbish. [00:03:28] Speaker A: Jack, turn the flash on this here Maestro. Let's have a look in. [00:03:31] Speaker F: Yes, let's have a look at you, if you wish. I say. [00:03:35] Speaker A: Holy jumping catfish. Will you look at what we got? [00:03:39] Speaker G: I told you I was fat and ugly. [00:03:42] Speaker A: Well, I swear to my grandma you wasn't fat. [00:03:44] Speaker F: Kidding. [00:03:45] Speaker A: You're just about the fattest man I ever did see. [00:03:48] Speaker G: I wouldn't doubt it, fellow. [00:03:50] Speaker A: You're darn near as broad as you are long. [00:03:52] Speaker F: So you're the Maestro? [00:03:53] Speaker G: I am. [00:03:53] Speaker F: What's your name? [00:03:56] Speaker G: Maestro is sufficient. [00:03:57] Speaker F: Reggie. [00:03:58] Speaker H: Yes, sir. [00:03:59] Speaker F: You stay right here with this man. Don't let him get up off that packing case. Right. Doc and I are going to search. [00:04:03] Speaker G: This boxcar for the dead man. [00:04:05] Speaker F: For the dead man? Murder amuses you? [00:04:10] Speaker G: Look at your hands. [00:04:12] Speaker F: What's that? [00:04:13] Speaker G: I suggest you look at your hands. Well, you touched the knife that was in the man's heart. Are there any signs of blood on your fingers? [00:04:25] Speaker F: No. [00:04:26] Speaker G: Isn't that odd? A man stabbed in the heart bleeds profusely. [00:04:31] Speaker A: That's true, Jack. [00:04:32] Speaker F: There was a dead man in his car. [00:04:33] Speaker G: Another simple excursion into the world of mysticism. Rubbish. [00:04:39] Speaker F: Come on, Doc. We're gonna look for that body. [00:04:40] Speaker A: Well, there sure ain't much looking to be done in a boxcar. Empty boxcar's about the easiest thing I know to search. [00:04:47] Speaker F: Wait. [00:04:48] Speaker H: Huh? Well. [00:04:49] Speaker A: Hey, it's a little dancer. Nasha. Now hold your flash down close. [00:04:53] Speaker F: Yes, I want to look at her. [00:04:55] Speaker A: Was dog gone just as pretty as she said? She was sleeping like a baby. [00:05:01] Speaker F: That's what I wanted to make sure. [00:05:02] Speaker A: Well, she is, ain't she? [00:05:04] Speaker F: Yes. [00:05:04] Speaker A: There's no faking about that Dog gone fella. Can you imagine a little honey like that is traveling around the country with a big fat ugly buzzard like a maestro? [00:05:13] Speaker F: Beauty and the beast. [00:05:14] Speaker A: And darn it, she ain't plumb crazy about it. [00:05:17] Speaker F: Queer setup. Well, there's nothing down on this end of the car. [00:05:20] Speaker A: If you mean corpses, they ain't. [00:05:22] Speaker F: All right, let's try the other end. [00:05:24] Speaker A: I don't really think we'll find nothing though, do you? [00:05:26] Speaker F: There was a dead body in here. [00:05:29] Speaker G: Well, are you convinced? [00:05:30] Speaker F: We aren't through yet. [00:05:31] Speaker H: I heard you talking down there. You find the girl? [00:05:34] Speaker F: Yeah. [00:05:34] Speaker A: Nasha's getting her beauty sleep. [00:05:36] Speaker G: Well, when you search to your satisfaction, come back. I enjoy your company. [00:05:42] Speaker F: Thanks. Come on, Doc. [00:05:44] Speaker A: Sure is a good natured old hypnotrous. Now, looky, Jack. You gonna insist that there was a murdered man? [00:05:51] Speaker F: Yes. [00:05:52] Speaker A: Well, all right then. We got a right to say that Nasha was turned into a tiger. Baloney. But tiger, a dead man. One makes just as much sense as the other. [00:06:00] Speaker F: That woman in the tiger gag was just a trick. Optical and oral illusion. It was dark. We didn't actually see the tiger. [00:06:05] Speaker A: But we seen green eyes in the dark and we heard it. [00:06:08] Speaker F: A snarling illusion, I tell you. [00:06:09] Speaker A: All right, then. Then why ain't the dead man illusion too? Because I had hold of him, but in the dark. Maybe. Maybe he had that fixed up some way. These magician guys are smarter than a whip. [00:06:22] Speaker F: You see anything down here? [00:06:23] Speaker A: There ain't nothing down Here I feel kind of silly even. [00:06:26] Speaker H: Looking silly, huh? [00:06:28] Speaker A: Yeah, I do. Him sitting there playing tricks on us and laughing at us. And all the time us taking it serious. [00:06:34] Speaker F: All right, come on. [00:06:35] Speaker A: Of course I know you still ain't convinced. [00:06:37] Speaker F: I know there was a dead man. [00:06:38] Speaker A: Then where'd it go? [00:06:39] Speaker G: Yes, Mr. Bakker, where did it go? [00:06:43] Speaker F: All right, all right. How about the car door? [00:06:46] Speaker G: You know, I didn't move off this box. I was sitting here right in front of you all the time. [00:06:52] Speaker F: I couldn't see in the dark, but. [00:06:53] Speaker G: I was right in front of you talking to you. [00:06:58] Speaker F: No. [00:06:59] Speaker G: If you have any idea that I threw a dead man out of that car door, you're quite mistaken. [00:07:05] Speaker F: You maintain it was an illusion? [00:07:07] Speaker G: I maintain I opened the door into the world of mysticism just a crack. [00:07:13] Speaker F: What you been doing while we were away, Reggie? [00:07:16] Speaker G: Reggie. [00:07:16] Speaker A: Hey. Hey, Reggie. Turn on flashlight, Jack. [00:07:19] Speaker G: Don't be alarmed. Your friend is nearly gone to sleep. [00:07:22] Speaker A: Asleep? [00:07:24] Speaker G: He must have been very tired. Reggie. [00:07:27] Speaker F: Reggie, what's the matter with you? Let me alone, Jack. I'm tired. Here, Doc, get hold of him. Help me get him up on his feet. [00:07:33] Speaker A: Come on, Reg, wake up. Come on, get up. [00:07:36] Speaker H: Leave me alone, you chap. [00:07:37] Speaker F: Just let me alone. That's it, Walk him around. Come on, Reggie, snap out of it. That's it. [00:07:43] Speaker A: Stretch and wake up. [00:07:48] Speaker F: What's going on? You all right? [00:07:50] Speaker H: Naturally, I'm all right. [00:07:52] Speaker F: What made you think otherwise? [00:07:53] Speaker A: What made you think otherwise? [00:07:54] Speaker H: Hey, I. I just remembered. [00:07:57] Speaker F: You remembered what? [00:07:58] Speaker H: Marsha, that girl, she's been killed. Hey, but I saw it. [00:08:01] Speaker A: I know it. [00:08:01] Speaker H: I saw it. You saw? Knocked on the door. She must have been. She walked up to the door of the car and plunged out head first. [00:08:06] Speaker A: She done what? [00:08:07] Speaker H: I saw. [00:08:08] Speaker F: Look, Reggie, it's as black as the inside of your hat. How could you possibly have seen her jump out the door? [00:08:12] Speaker H: I don't know, but I did. [00:08:13] Speaker F: Doc, take this flashlight and go back to the end of the car and show Reggie. She's back there asleep? [00:08:17] Speaker H: Yeah. [00:08:17] Speaker A: Come on, fella. [00:08:18] Speaker H: It was beastly all over before I could move. [00:08:21] Speaker F: Well, I don't think you and I are gonna get along. [00:08:24] Speaker G: That's a pity. [00:08:25] Speaker F: What did you do to Reggie? [00:08:27] Speaker G: I'm afraid you have a suspicious mind. [00:08:29] Speaker F: He didn't go to sleep of his own accord. [00:08:31] Speaker G: He didn't? [00:08:32] Speaker F: Now, she didn't jump out that door, and you know very well she didn't. [00:08:35] Speaker G: I didn't say. [00:08:36] Speaker A: Jack, she's not here. [00:08:38] Speaker F: What's that? [00:08:38] Speaker A: Jack, Is he here? [00:08:39] Speaker I: Nash is gone. [00:08:40] Speaker A: She's not Here. [00:08:41] Speaker H: Just as I said, Jack, I saw her float out of the door of the car. [00:08:44] Speaker F: This is ridiculous. [00:08:45] Speaker I: But it's the truth. [00:08:45] Speaker F: Doc, go down and look at the other end of the car. [00:08:47] Speaker A: Yeah. [00:08:47] Speaker H: Yes, Jack, I know what I'm talking about. [00:08:49] Speaker F: You don't know what you're talking about. You've been asleep. [00:08:51] Speaker H: Asleep? [00:08:52] Speaker F: Yes, you have. When Doc and I came back from examining the car, you were lying on the floor, asleep. [00:08:55] Speaker H: You're sure? [00:08:56] Speaker F: Certainly I'm sure. Anything you think you saw, you dream. Well, I don't believe it. [00:09:00] Speaker A: Nope. She ain't down here, Jack. [00:09:01] Speaker F: You look good. Sure it did. [00:09:03] Speaker A: She just plain ain't in this box car. [00:09:05] Speaker G: Your friend Mr. Long, is right, Mr. Baggard. [00:09:08] Speaker F: And I suppose you're gonna say you saw her dive out the door, too. [00:09:11] Speaker G: As a matter of fact, I did. To throw even more light on the subject, I caused her to do it. [00:09:17] Speaker A: You made that girl jump out of this train going like we are? [00:09:20] Speaker G: I did. [00:09:21] Speaker H: But look here, that's murder. [00:09:23] Speaker G: Oh, no. [00:09:24] Speaker A: Well, I'd like to know why it isn't her train going the way it is. Well, she couldn't pass partially. You come through alive. [00:09:29] Speaker H: Besides, this is mountain country. Ravines, precipices. The girl may have fallen 100ft. [00:09:34] Speaker G: You boys still don't believe, do you? [00:09:37] Speaker A: Don't believe what? [00:09:38] Speaker G: That I have the mystical power necessary to conduct acts which to you appear supernatural? [00:09:46] Speaker F: Are you going to tell us now that we're witnessing another of your experiments in mysticism? [00:09:50] Speaker G: Exactly. [00:09:51] Speaker F: You say you caused her to leap out of the car. Now I suppose you can cause her to leap back in again. [00:09:55] Speaker G: I didn't say that. [00:09:57] Speaker F: Reggie, tell us exactly what you saw. [00:09:59] Speaker H: You mean when Gnasher? [00:10:00] Speaker F: Yes. What did you see? [00:10:01] Speaker H: Well, I saw her come from the end of the car where you saw her asleep. [00:10:04] Speaker F: Don't you see how ridiculous that is? You can't even see her hand in front of it. [00:10:08] Speaker H: Yeah, this was different. There was a faint glow about her. I don't know how to explain it. [00:10:12] Speaker A: Like a firefly wearing Leon Knights. [00:10:15] Speaker H: No, I mean it luminous. Her body, her hair. She glided along till she got to the door. And she stood there for a moment and. And then suddenly she just seemed to float off into the air. [00:10:24] Speaker F: You actually saw her? I mean, after she left the car, you saw her out in the air? [00:10:28] Speaker I: Yes. [00:10:28] Speaker H: Yes, for a moment, I could. I could see the wind blowing her luminous hair. And then all of a sudden, she disappeared. [00:10:35] Speaker A: Reggie, what'd you stand there for? Why didn't you yell? [00:10:37] Speaker H: I don't Know I began to feel heavy. Sleepy, I say. [00:10:40] Speaker F: That's what happened, Jack. [00:10:42] Speaker H: The minute she floated out there, I went to sleep. [00:10:44] Speaker F: That's great. [00:10:44] Speaker H: But I couldn't help help it, Jove. I never felt so sleepy. [00:10:47] Speaker F: Did the maestro here touch you? No. [00:10:50] Speaker H: No, I don't think so. [00:10:51] Speaker G: No, I didn't touch him. [00:10:52] Speaker F: Well, I don't know the answer, but I think the whole thing's a lot of silly hocus pocus. [00:10:56] Speaker A: But doggone e. Jack, the girl's gone. [00:10:58] Speaker F: Yes, and so is the body of that dead man. I know they're gone. I also know there was a dead body here. And I know that if that girl jumps out the car door, she's dead. [00:11:06] Speaker G: The ways of mysticism. [00:11:08] Speaker F: I don't care anything about the ways of mysticism. You sit there like a big fat spider creating evil. I think you're a murderer, and I'm not so sure. But what? You're not a double murderer. [00:11:15] Speaker G: I know a man convinced against his will. [00:11:18] Speaker F: Jack. Jack, look. Yes. Yes. She. [00:11:22] Speaker A: She's coming back. [00:11:24] Speaker H: Floating in through the doorway. Just the way she left. [00:11:26] Speaker F: Nasha. Nasha, do you hear me? Please. [00:11:29] Speaker G: She's just returned from another world. She must have time. [00:11:34] Speaker H: Floating back to the end of the car. [00:11:36] Speaker F: I want to talk to that girl. [00:11:37] Speaker G: You will have the opportunity. Just give her a minute. [00:11:41] Speaker F: You see? [00:11:42] Speaker H: You see how luminous she is? How she glows? [00:11:45] Speaker F: Hey, look. [00:11:46] Speaker G: It. [00:11:46] Speaker A: It went out. She don't shine no more. [00:11:49] Speaker G: The power that surrounded her has left. [00:11:52] Speaker F: The power surrounding her. [00:11:55] Speaker G: I think she's ready to talk to you now. Nasha, come here. [00:12:01] Speaker F: We'll see what she has to say. [00:12:04] Speaker G: Gnasher. [00:12:05] Speaker I: I am here, Maestro. [00:12:07] Speaker G: Gnasher. Where have you been? [00:12:10] Speaker F: Away. [00:12:12] Speaker I: Way away. It was cold there. Very cold. [00:12:17] Speaker F: Here, let me feel your hands. [00:12:18] Speaker I: Yes, I am cold. [00:12:20] Speaker F: Yeah, you're like ice. [00:12:21] Speaker I: Yes, I am cold. [00:12:23] Speaker H: How did you get so cold in the faraway country? [00:12:27] Speaker I: But I did not mind the cold then, because everything was so beautiful. [00:12:31] Speaker G: Mr. Packer doesn't believe you. [00:12:34] Speaker I: Shall I stick a knife into him? [00:12:37] Speaker G: No knife. [00:12:38] Speaker F: Here, let me look at you in. [00:12:39] Speaker I: The flashlight so you can't see how beautiful I am. [00:12:43] Speaker F: Let me see your hands. [00:12:44] Speaker I: They are beautiful, too. [00:12:46] Speaker F: Hello. What's this blood on your hands? [00:12:51] Speaker I: Blood and rust. [00:12:53] Speaker F: Iron rust? [00:12:54] Speaker I: No, no, not blood. Not blood. [00:12:58] Speaker F: Blood and rust. No. Catch her, Doc. [00:13:02] Speaker A: Yeah, got her. [00:13:04] Speaker G: Put her down at my feet. I will heal her. [00:13:50] Speaker E: 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. 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. This program came from New York. This is the Mutual Broadcasting System. The Mutual Broadcasting System presents I Love the Mystery. [00:15:10] Speaker F: Sam. [00:15:40] Speaker E: A new Carlton Morse adventure thriller. [00:15:51] Speaker A: Hey, we ain't moving. Hey, Jack. Reggie, we ain't moving. Jack, do you hear me? Wake up. [00:15:57] Speaker F: Yeah. What's the matter, Doc? [00:15:58] Speaker A: We ain't moving. [00:15:59] Speaker I: This. [00:15:59] Speaker A: Boxcars are standing still. [00:16:01] Speaker F: Oh. Have you looked out to see where we are? [00:16:03] Speaker A: No, I just. [00:16:03] Speaker F: I just woke up. You. [00:16:05] Speaker A: You awake, Reg? [00:16:06] Speaker F: Yeah, it's great. Oh. Seems queer after hearing the click of. [00:16:10] Speaker H: Wheels for 36 hours. [00:16:11] Speaker F: Let's slide open the door and see what's happened. [00:16:13] Speaker A: Shall I go down to the other end of the car and wake up Nasha and the maestro? [00:16:16] Speaker F: Let him alone. They'll probably wake up when we open the door. Makes enough noise. All right, grab a hold, Reggie. Let's go. There she is. [00:16:26] Speaker A: Hey. Hey, will you lookie out here? [00:16:29] Speaker F: Oh, I say. [00:16:31] Speaker A: Desert sand and greasewood as far as the feller can see. [00:16:35] Speaker F: Dawn just beginning to break. Probably be able to see the mountains when it gets lighter. Come on, let's get down. Come on, Reggie. I know. [00:16:45] Speaker A: Doggone if that ain't purty, though. Purple light over the desert. Durned if I don't almost feel like I was back home in Texas. [00:16:52] Speaker F: You gonna stand there in the car door? You're coming with us. [00:16:54] Speaker A: Oh, sure I'm coming. [00:16:57] Speaker F: There. [00:16:58] Speaker A: Where are we going? [00:16:59] Speaker F: Oh, just look around. [00:17:01] Speaker A: It don't look to me like there's nothing but sand and grease wood. [00:17:04] Speaker F: This sighting indicates there's something more, right? [00:17:06] Speaker H: Railroad wouldn't shunt a car off here for no reason. [00:17:08] Speaker A: Well, if either one of you can see signs of anything in any direction, I'll put in with you. There ain't even any roads leading anywhere. [00:17:15] Speaker F: There probably is. We just haven't seen it yet. [00:17:18] Speaker A: Don't look to me like there was. [00:17:19] Speaker H: But there's got to be, Doc, otherwise. [00:17:21] Speaker I: Oh, look. [00:17:22] Speaker H: Look there. [00:17:22] Speaker F: Huh? Where? There's a post. Post? [00:17:24] Speaker H: With a sign on it. [00:17:25] Speaker A: Oh, that don't mean nothing. Railroads have them all along their. Right away, every. Every few miles. [00:17:30] Speaker F: Well, let's have a look at it anyway. [00:17:31] Speaker A: Oh, sure. [00:17:32] Speaker G: Why not? [00:17:34] Speaker H: Jove, that boxcar. Certainly looks lonely standing there by itself in this great expanse of nothingness. [00:17:39] Speaker F: Sure does. [00:17:40] Speaker G: All right. [00:17:40] Speaker F: Well, here's a sign. Well, I'll be. Huh? [00:17:44] Speaker A: Well, what's the matter? [00:17:45] Speaker F: Read it. You can't read, can't you? [00:17:48] Speaker A: Say, bury your dead, Arizona. Bury Your dead Arizona. Hey, what does that mean? [00:17:56] Speaker F: Apparently this is the town of bury your dead. The. [00:17:58] Speaker A: The name of a town. [00:17:59] Speaker F: What else? Bury your dead Arizona. [00:18:02] Speaker H: Bit gruesome, what? [00:18:03] Speaker A: Well, somebody's got a sense of humor, looks like to me. [00:18:05] Speaker H: You think that's funny? [00:18:06] Speaker A: Well, it does kind of tickle me somewhere. Can't just put my finger on it. [00:18:10] Speaker H: I say, I just had a bad thought. You don't suppose the whole population of buriedt is under the sun? I mean to say, that would make accommodations for us who are alive a bit sketchy. [00:18:20] Speaker A: Yeah, it would at that. [00:18:21] Speaker F: No, I still maintain there's a living population around here somewhere. That boxcar was left here to be loaded. [00:18:26] Speaker A: Well, I sure hope you're right, because I'm blamed anxious to start sleeping in the bed and eating my food off the table again. [00:18:32] Speaker F: I agree with you there. [00:18:34] Speaker H: My box car accommodations are Ballymega. [00:18:36] Speaker A: Are we going back to the boxcar? [00:18:38] Speaker F: Might as well till it gets lighter. It'd be silly to get away from the railroad tracks. And so we know definitely where we're going. [00:18:43] Speaker A: Are we going to tote the maestro and nash you along with us when we do? [00:18:47] Speaker F: It depends. [00:18:48] Speaker H: It's queer about the maestro, isn't it? [00:18:49] Speaker A: How you mean? [00:18:50] Speaker H: Well, after that first night in the car, he hasn't said a word about his ballet mysticism. [00:18:54] Speaker A: Yeah, all day yesterday he acted as though he didn't even know we was in the car with him. Just sat on that packing box of his without hardly moving with his eyes. [00:19:03] Speaker H: Closed most of the time. [00:19:04] Speaker A: And man, is he fat. Well, I don't see how his legs hold him up. [00:19:08] Speaker F: Didn't you notice his legs? Short, straight up and down like a couple of posts. [00:19:12] Speaker A: Yeah, he's going to have one swell time if we have to do any walking across this sand. I say they're awake. [00:19:17] Speaker H: Nasha's out of the car. [00:19:18] Speaker A: Yeah, and the maestros are sitting in. [00:19:20] Speaker F: The doorway waiting for us to come and lift him down. Probably. [00:19:23] Speaker H: They seem to be watching us with a great deal of interest. [00:19:25] Speaker A: Go, go, Jack. That masher gals are honey. [00:19:28] Speaker F: Honey expresses it perfectly, huh? Don't think the maestro doesn't know you can catch a lot of flies with honey. [00:19:34] Speaker A: Now, what you mean by that? [00:19:36] Speaker F: Never mind. Let's see what they have to say. [00:19:38] Speaker A: Honey catches a lot of flies. [00:19:40] Speaker F: Well. Morning, Maestro. [00:19:42] Speaker G: So you haven't deserted us after all. [00:19:45] Speaker F: Deserted you? Is that what you thought? [00:19:46] Speaker I: You make us pretty mad, I can tell you. [00:19:49] Speaker F: Mad, huh? [00:19:50] Speaker I: The maestro say that is gratitude for you. [00:19:53] Speaker F: Gratitude? We're under no Obligations to you been any object in our taking out across the desert, we'd have done so. [00:19:59] Speaker G: You are obligated to me whether you realize it or not. [00:20:02] Speaker F: Not in what way? [00:20:03] Speaker G: I let you live. [00:20:04] Speaker A: Hey, what you talking about, Bill? [00:20:06] Speaker G: I let you live. [00:20:08] Speaker F: Valiant. [00:20:08] Speaker H: Pleasant thought. Is it right that our lives were in your hands? [00:20:12] Speaker G: Nevertheless, they were. Still are, if you wish. [00:20:15] Speaker A: Listen to him, will you? Why, feller, any one of us could tear you limb from limb if we as a mind to. [00:20:21] Speaker G: I'm not in a mood to discuss the matter. I simply stated the fact. [00:20:25] Speaker F: You don't want to make any further explanation? [00:20:28] Speaker I: No, I do not like this place. Why we stop here? [00:20:31] Speaker H: We stopped here because here is where the railroad company chose to leave our boxcar. [00:20:35] Speaker G: And what is the name of this place? [00:20:37] Speaker F: Bury your dead. Arizona. [00:20:39] Speaker G: Will you say that again? [00:20:41] Speaker F: Bury your dead. Arizona. [00:20:43] Speaker G: You're not being facetious. [00:20:45] Speaker F: All I know is what I read on the sign around the other side of the boxcar. [00:20:49] Speaker I: But of course, people buried their dead. [00:20:51] Speaker F: Oh, I don't know. Sometimes people are a little careless. For instance, did the Maestro bury the dead body that we had in the boxcar with us night before last? [00:21:00] Speaker G: So you're still worrying about that? [00:21:02] Speaker F: No. Instead he threw it out the door of the moving boxcar. [00:21:05] Speaker I: But there was no dead body. [00:21:09] Speaker F: I think there was. [00:21:10] Speaker I: Then you are a fool. It was the Maestro's magic. [00:21:14] Speaker G: Let him alone, Nasha. If he will not believe, he will not believe. I have not seen around the other side of the boxcar. I assume there is a town. [00:21:24] Speaker A: He assumes there is a town. [00:21:26] Speaker G: There isn't. [00:21:27] Speaker A: You bet there ain't. The other side of the tracks looks just like this side of the tracks. Just as far as your eyes can see. [00:21:33] Speaker G: Strange. [00:21:34] Speaker F: However, there must be some kind of a settlement not too far off. [00:21:37] Speaker G: This reminds me so much of a portion of southeastern Russia where I was once stranded. [00:21:42] Speaker A: Reminds me a text. [00:21:44] Speaker G: The same sandy wasteland, same purple dawns. Same unhealthy silence. [00:21:51] Speaker H: But there's nothing unhealthy about this. It's inspiring. It's beautiful. [00:21:55] Speaker A: Yeah. What you mean unhealthy? Why, there ain't no place as healthy as the desert. [00:21:59] Speaker G: Same unhealthy silence. I think I found the place at last. [00:22:05] Speaker F: What are you talking about? [00:22:07] Speaker G: And you say the name of the place is bury your dead? [00:22:10] Speaker F: Yes. [00:22:11] Speaker G: You say there must be a settlement nearby. Help me down out of this boxcar. [00:22:16] Speaker F: Roll over on your stomach and let yourself down. [00:22:19] Speaker G: That is not dignified. [00:22:20] Speaker F: Then sit up there in the door. It's no matter to us? [00:22:23] Speaker H: It's only 2 or 3ft jump. [00:22:24] Speaker G: My weight is too great. [00:22:26] Speaker F: I would break a leg. [00:22:27] Speaker A: Then I reckon you'll have to roll over and slide down on your stomach like Jack does. [00:22:31] Speaker I: You insult a maestro? [00:22:32] Speaker A: Sure, why not? [00:22:33] Speaker I: Shall I stick a knife into them? [00:22:34] Speaker G: Send em alone. They're un believers. Nasha. [00:22:37] Speaker I: Pigs. Infidels and pigs. [00:22:40] Speaker J: Oh, what's going on here? [00:22:42] Speaker A: Hey, where did you come from? [00:22:43] Speaker J: I've been standing here watching you. And I don't mind saying I don't like what I see. [00:22:49] Speaker F: Well, we're mighty glad to see you. [00:22:51] Speaker J: You are? [00:22:52] Speaker F: Yes. We're beginning to think we were the only living beings in this desert. [00:22:55] Speaker A: Well g. That's fine. [00:22:58] Speaker J: Quite a heap of folks over bury you dead. [00:23:00] Speaker H: Look here then there is a place. [00:23:01] Speaker B: Town by that name. [00:23:03] Speaker J: Didn't you just hear me say so? [00:23:04] Speaker F: How many people live there? [00:23:05] Speaker J: Well, there was 20 last night. This morning there's only 19. [00:23:10] Speaker A: Hey, what happened to the 20th? [00:23:12] Speaker J: Ate by the wolves. [00:23:14] Speaker G: Wolves? Did I hear right? Did you say wolves? [00:23:18] Speaker J: That's what I said. Say you about the fattest man that's ever been in these parts. [00:23:23] Speaker G: Wolves. Closer and closer to my Russian experience. [00:23:28] Speaker J: What'd you say? [00:23:28] Speaker F: What makes you think it was wolves? [00:23:30] Speaker J: Cause I know it was wolves. [00:23:31] Speaker F: I don't believe it. [00:23:32] Speaker J: Ain't no skin off my back. [00:23:34] Speaker F: There haven't been any wolves in Arizona for 50 years. [00:23:36] Speaker J: You can prove that? Well no, I don't talk so much. [00:23:41] Speaker F: Can you prove that someone has been killed by wolves? [00:23:44] Speaker J: That's right. [00:23:45] Speaker F: How'd it happen? [00:23:46] Speaker J: How would it happen? Wolves just pulled him down and went for him. [00:23:50] Speaker F: I see. How far is bury your dead from here? [00:23:54] Speaker J: About a half mile that way. [00:23:56] Speaker H: It's queer we can't see any buildings. [00:23:58] Speaker J: It's down in the gulch. That's where the water is. [00:24:00] Speaker F: Any place we can put up dry? [00:24:02] Speaker J: Go tell Room and Meadows a woman. [00:24:05] Speaker H: Runs a boarding house in this forsaken hall. [00:24:08] Speaker J: Dry. [00:24:08] Speaker G: Go. [00:24:09] Speaker J: Mary is tough. Tougher than most men. Like to come along with me? I'll take you there. [00:24:15] Speaker F: Yes, I think we would. By the way, my name is Jack Packard. [00:24:17] Speaker J: Howdy. Mine's Jumping Dick. [00:24:20] Speaker F: Glad to meet you. Jumping Dick? [00:24:21] Speaker J: Yeah, know by everybody in Arizona, New Mexico. Jumping Dick. [00:24:26] Speaker A: Oh, what's jumping for? [00:24:27] Speaker J: I got that handle, Honeycutt. I used to jump every time I heard a rattlesnake. I can't abide. [00:24:33] Speaker F: Well Dick, this is Doc Long. This is Reggie York. [00:24:35] Speaker G: Hi Artie. [00:24:36] Speaker H: Glad to meet you. [00:24:36] Speaker F: And sitting up there in the car is the maestro. [00:24:40] Speaker J: The witch? [00:24:41] Speaker F: The maestro. [00:24:42] Speaker J: Oh that's so. [00:24:43] Speaker F: And this girl is Nasha. [00:24:46] Speaker J: Well, the boys down at barrier dead get a squint at her. [00:24:50] Speaker I: They better not, I tell you those. [00:24:52] Speaker J: Hey, hey, hey. What kind of lingo is that? [00:24:55] Speaker F: Nasha's from the Far East. [00:24:57] Speaker J: Far east is Nebraska. [00:24:59] Speaker F: No, I mean over close to Russia. [00:25:01] Speaker A: Oh. [00:25:03] Speaker J: Well, I don't reckon any of the boys ever seen a Russian before. She ought to go over big with them. Only pretty girl in bury. Your dad's my daughter. Ain't no better than to bother her. [00:25:14] Speaker I: They bother me, I will stick a knife in them. [00:25:17] Speaker J: Oh, knife. W. Huh? [00:25:18] Speaker I: Yes. This way. This way. Poof. They are dead. [00:25:23] Speaker J: Well, I pass the word around, but the boy sure do like a pretty woman. You coming with me? [00:25:31] Speaker F: Yes. Now, how about you, Maestro? [00:25:32] Speaker G: I demand you help me down. [00:25:34] Speaker F: Get down the best the of way you can. [00:25:35] Speaker G: Very well, I shall. [00:25:39] Speaker I: Just a little more. [00:25:41] Speaker F: My. There. [00:25:46] Speaker I: Your feet touch the ground. [00:25:48] Speaker F: You have made me look ridiculous. So what? [00:25:51] Speaker G: So I will cast a spell over this countryside. I will turn loose evil on bury your dead so that many who are alive today will not be alive tomorrow. [00:26:01] Speaker J: What the tarnation is he talking about? [00:26:03] Speaker I: And he will too. The maestro is great magician. You wait. [00:26:09] Speaker G: I have warned you. The wolves who have killed once will. [00:26:13] Speaker F: Kill again and again. [00:26:57] Speaker E: 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. [00:27:43] Speaker B: That was parts three and four of Bury your Dead, Arizona from I Love a Mystery here on the mysterious old Radio Listening Society podcast once again. I'm Eric. I'm Tim. [00:27:54] Speaker D: And I'm Joshua. [00:27:56] Speaker G: Yeah. [00:27:56] Speaker B: We continue in this seven, turning 15 parts into seven here on our podcast. And if for whatever reason, I don't know why I feel the need to say this, but you're just jumping in here. [00:28:09] Speaker G: Yeah. [00:28:09] Speaker B: You got to go back and you got to go back and listen to the previous episode because you're. But anyway, so things are starting to happen a little bit. [00:28:21] Speaker C: Getting a little bonkers in this boxcar. [00:28:24] Speaker B: That's the subtitle of this one, Bonkers in the Boxcar. To be transparent. Because we've listened to the whole series, we're trying to do these podcasts in sections. So I want to make sure for this one, the episode four ended on what Cliffhanger. [00:28:42] Speaker C: It ends with jumping dick, which I'M so glad. I gotta be the first to say. [00:28:46] Speaker D: Jumpin Dick is really the cliffhanger post. Jumping Dick is a fat man struggling for a minute and a half to get out of a boxcar and then curses the entire city. [00:28:58] Speaker B: Right? [00:28:59] Speaker D: Bum, bum, bum. [00:29:00] Speaker B: Right, Right. [00:29:01] Speaker G: Jumping Dick. [00:29:02] Speaker B: Little penicillin will take care of that. I think the greatest line in these two episodes is jumping Dick when he's, I'm going to curse the whole town. And you know. And he doesn't say it. Here's how it comes off. The hell is that guy talking about? I don't remember the exact line, but it made me laugh. Like, what? [00:29:25] Speaker C: So particularly episode number three, because I know the shtick of Carlton Morris. I know your stick. [00:29:31] Speaker D: Carlton Morris jumping shtick. [00:29:36] Speaker C: As I was listening to this, I was trying to pick up on these details that I thought were getting just a little bit of extra emphasis that I thought, this is gonna pay off in the end. And I won't say whether they do or not, but they keep saying how fat this guy is. He's so fat. I've never seen anyone so fat. That made me think, I bet he's not actually fat. [00:29:58] Speaker D: He's in Nutty Professor Eddie Murphy fat suit. [00:30:04] Speaker C: I was thinking, like, is that how I made the guy disappear? Just sucked him up into his fat suit? We'll just see if my guess was correct or not. [00:30:13] Speaker D: But it's not just his weight. He also has remarkably short legs that are straight up and down like a couple of posts. [00:30:22] Speaker B: Like, his knees don't bend. [00:30:23] Speaker D: Which made me think of Hank Hill's dad, King of the Hill. Then I started imagining him for a brief period of time. And then sort of I shunted that image like they did the boxcar. [00:30:35] Speaker C: Want to have Hank Hill as Jack Packard. [00:30:38] Speaker F: Damn it. [00:30:39] Speaker D: Reggie. And Reggie's fattest man I've ever seen. [00:30:47] Speaker B: Here's who's in my head. It is a bigger version of Mr. Potter from its Wonderful Life. That's how I picture Maestro. [00:30:57] Speaker D: Why? [00:30:58] Speaker B: I don't know. That's how he. For whatever reason my brain sees Mr. Potter. But two times the size. [00:31:06] Speaker D: Everyone has some variation on Mr. Potter. Like, wow, that's slim. Sexy Mr. Potter. [00:31:13] Speaker C: They also put a lot of focus on this box he's sitting on. Like, if you mention it two or three times, like, why'd you say it so much? So I'm thinking box is important. That's a thing. [00:31:26] Speaker D: We'll see. [00:31:26] Speaker C: We see if I'm the smart one or if I'm the dumb one. [00:31:31] Speaker B: Well, as we Mentioned in last week's episode. Morris was writing a lot of scripts fast because of that. There is a tendency in his writing to be things that seem like glaring clues or even red herring clues or. You know what I mean? Like that. Oh. That's been brought up intentionally for us to file away. And frequently with Carlton E. Morse. They're not, you know, like, they just. [00:32:00] Speaker C: Someone mentioned to him later, like, oh, yeah, that wasn't a thing. [00:32:04] Speaker B: Yeah. I forgot to wrap up that loose end. [00:32:08] Speaker D: And there's some strange stuff where Reggie just suddenly falls asleep and has a vision. [00:32:14] Speaker B: Yeah. [00:32:15] Speaker D: Which made me a little confused about the size of this boxcar. [00:32:20] Speaker B: Right. [00:32:20] Speaker C: It's definitely got two very separate halves to it. [00:32:26] Speaker B: Yeah. [00:32:27] Speaker D: Because once they turn on the flashlight and it's strange. It's uncharacteristic for Jack to wait to turn on the flashlight and allow the Maestro to clap his hands twice and finish his magic trick. Maybe you could see it as Jack's just level of cockiness, his arrogance that allows for that. But in the moment, I was like, seriously, you're gonna wait for him to get rid of the body in the dark? [00:32:49] Speaker B: Well, that goes to this point, too, of. Who's that? When the flashlight come on right away in episode two, soon as they saw the woman. Right. And then. Oh, I'm. By the way, we didn't mention this from the last episode where she's. Who is that? My name's Jack Packard. His name's Jack Packard. But he's right there. Yeah. They can all hear each other and she's repeating everything that they're saying. That's hilarious to me. [00:33:15] Speaker C: It's like the gag from Galaxy Quest. [00:33:18] Speaker B: Right. [00:33:20] Speaker D: And I mean, it feels padded, but it also completely, in a comic way, explains the relationship between the Maestro and Nasha. [00:33:29] Speaker B: And also that he refuses to talk to them. Like he's too important to talk directly to them, even though he's obviously 10ft away and everybody can hear him. So back to episode three and four. Maybe you want to edit what I just said into the last. [00:33:43] Speaker D: No, that's. This is what happens when we do a serial guy. [00:33:47] Speaker B: Yeah. [00:33:50] Speaker D: Yeah. I felt the dream sequence quite strange. I think I like it. We'll see how it pans out. Or if it ends up being. Again, like Tim is talking about collecting significant incidents. I don't know. Was Reggie drugged? Was he. Did he just get sleepy? Is he just British? So he just can't stay awake as long as the Americans can tick. [00:34:11] Speaker B: Stay calm to a whole new level. [00:34:15] Speaker D: Yeah. So that was a little Odd. And then there's the moment where Nasha then falls asleep and they. And Doc and Jack go with a flashlight and just sort of leer at her while she's sleeping and go. [00:34:28] Speaker G: Yep. [00:34:29] Speaker D: She described herself. [00:34:30] Speaker A: Right? [00:34:31] Speaker B: Right. [00:34:31] Speaker D: Supple, lithe, bendy. [00:34:35] Speaker B: I do almost Russian, almost on the border. I do find the Reggie falling asleep. [00:34:42] Speaker C: And she Russian kind of along the border. [00:34:46] Speaker D: The. [00:34:47] Speaker B: The vision and all that. I like it a lot. It creates. What I like about Morse and his writing is to create so many questions like, oh, my God, what is going on? Right. What is happening? How is that happening? And the fact that. That they are now somewhat fearful. Right. Like, okay, that was weird. I like what that does to the tension of. [00:35:18] Speaker D: Yeah, because that cliffhanger is a surreal one where Nasha floats back into the boxcar and is covered in blood and rust. [00:35:29] Speaker B: Right. Yeah. It's a great visual image. Like, I see her way in the distance as the train's moving and she's coming at you while things are going past her. Do you know what I'm saying? Like, you. She's coming forward at you, but the train's moving. So I'm making motions on a podcast, but it creates that effect. And then as she gets bigger and bigger and comes in. Yeah, I think it's a cool image. [00:35:54] Speaker D: Covered in blood. Like Carrie. [00:35:56] Speaker B: Yes. It's an apparition of sorts that is very terrifying. And I like how it's written and performed. Also, like, what is happening? The tough guys being scared. I like. [00:36:09] Speaker D: And then they just go to sleep and wake up. [00:36:11] Speaker C: And that is the weirdest part. [00:36:13] Speaker B: Okay. [00:36:13] Speaker G: Yes. [00:36:13] Speaker B: And now we get to that. Right? [00:36:16] Speaker C: Like, yeah, they go to sleep and there's presumably just hours, maybe a whole day pass. Like, we're not going to talk to that guy. He's weird. [00:36:23] Speaker B: So episode four is where Doc wakes him up and says the train stopped. [00:36:27] Speaker D: Yep. Okay. [00:36:29] Speaker B: But again, as you mentioned in our last episode, Joshua Morris has a tendency to. Explain the episode I didn't write. Yes. You missed a whole episode. I didn't bother to write it. We're just jumping ahead. [00:36:41] Speaker D: And sometimes those episodes seem really exciting. Others, like this seems. Oh, I'm glad I missed that one where they just slept for 24 hours. [00:36:49] Speaker B: But it would have been nice to find out how they were able to put all of this aside enough to relax to sleep. Do you know what I mean? Some kind of. [00:36:58] Speaker D: Presumably the maestro told them a bedtime story. [00:37:01] Speaker B: Right. To jump on this I would have really liked. He made Reggie fall asleep. [00:37:07] Speaker C: Yeah. [00:37:07] Speaker B: That he made Them all. And they wake him. Like, what happened? I think he. That guy, you know, did the same thing he did to Reggie. Knocked us out with some kind of powers. I think that was a missed opportunity to raise his mysticism abilities to another level of suspense. [00:37:25] Speaker C: I also was at this point, deep into episode four, going, like, how long are we gonna be in this boxcar? No, it was at the very beginning of episode four that they actually say that we've arrived somewhere. But this is a lot of time not being in Arizona. [00:37:42] Speaker B: And for me, done the whole show, all 15 in that boxcar that have been sweet. That would have been awesome. [00:37:51] Speaker D: Just like, figuring out where to which corner to defecate in. [00:37:56] Speaker B: So the first time you listen, right? That's a whole episode. What's the show Seth MacFarlane does about. It's a Star Trek. [00:38:04] Speaker C: Orville. [00:38:05] Speaker B: Orville. Yeah. There's an episode where they all get taken hostage and he explores that fact. The first thing they say, okay, we got to decide which is the piss corner. And I was like, yes, of course. That would be the first thing you figure out. We all got to agree before we. [00:38:22] Speaker C: Start putting in action, Right? [00:38:25] Speaker B: Anyway, the name of this bury your dead Arizona is never explained. So you're listening to this for the first time, either back in the day or whatever you're three episodes in. Like, what is the name of this? [00:38:41] Speaker D: What does that mean? [00:38:42] Speaker B: What does that mean? [00:38:42] Speaker D: Is that a motto? Is that the state motto? [00:38:45] Speaker C: Find Arizona just littered with corpses. [00:38:50] Speaker B: It's a directive. Hey, Arizona, come on, come on. [00:38:54] Speaker C: Company's coming. Clean up a little. [00:38:56] Speaker B: But to find out it's the name of the town is a really great moment. And I remember the first time I listened to this and heard that and went, oh, that's the name of the town. That's cool. I love that old western name for a town. Yeah, it was a really. I'm trying to think of the right word. I. It's this moment of, oh, cool, I guess, is the best way. [00:39:23] Speaker D: And you can envision what the town looks like immediately, Right. As soon as you realize that's the name of the town. [00:39:29] Speaker B: Well, also, when you realize we are in the middle of nowhere. Desert. Like, there's nothing but desert. [00:39:39] Speaker C: And the juxtaposition between we're on a train going so fast that if we fall out of this, we're gonna die. [00:39:46] Speaker B: Right? [00:39:47] Speaker C: To suddenly wake up and, like, there's nothing around us. We are so far away from anything. We're so stuck. [00:39:55] Speaker B: Right. [00:39:56] Speaker D: Tension rises. It's. And then jump. A dick shows Up. [00:40:00] Speaker B: Right? Yeah. And then that guy from the town shows up. [00:40:06] Speaker D: I see what you did there. [00:40:07] Speaker B: Thank you. [00:40:08] Speaker C: At least stop showing us what you did there. [00:40:13] Speaker D: I mean, considering he got the name because he's frightened of rattlesnakes. [00:40:19] Speaker B: Who isn't? [00:40:20] Speaker D: Yeah. Yeah. How is that? [00:40:22] Speaker C: We are all Jumping Dick. [00:40:24] Speaker D: A distinguishing enough feature to earn you a nickname. That's. You know. How come it isn't like Rattledick. [00:40:31] Speaker F: Right. [00:40:33] Speaker C: In town. There's two johns in town. Somebody's got to change their name. [00:40:37] Speaker B: Right. [00:40:38] Speaker C: I'll be Jumping Dick. [00:40:39] Speaker H: Yeah. [00:40:41] Speaker B: Right. So where does this one end for again? He gets out and the three foot drop doesn't break his ankles. And then. [00:40:50] Speaker D: And he's just so mad he curses. Yep. He curses the town. Because we have found out from Jumping Dick. Say that as much as I can for the next six episodes. [00:41:01] Speaker C: We've all learned from Jumping Dick that. [00:41:04] Speaker D: There are only 20 people who used to live in this town. Now 19 because one of them was E.T. by a wolf. [00:41:10] Speaker B: Right? Yeah. And then he has Elky Joe and he has that moment. Yeah. Elkie Joe. Right. [00:41:17] Speaker C: And he's a town where you get have one bad night. [00:41:21] Speaker D: He got drunk with a rattlesnake. And now his name is one. [00:41:24] Speaker B: One bad moment. [00:41:25] Speaker C: Right now you're jumping Dick for life. [00:41:28] Speaker B: Right. Milk out your nose Bill. One mistake and that's forever. Right. [00:41:39] Speaker D: We also find out there is a boarding house Dry Gulch marries. [00:41:45] Speaker B: Right? [00:41:45] Speaker F: Yeah. [00:41:46] Speaker B: Which also. How do you think she got her nickname? [00:41:50] Speaker D: Her gulch is really dry. [00:41:53] Speaker B: Right. [00:41:54] Speaker C: Excuse me. Out of town. [00:41:55] Speaker D: Yeah. [00:41:56] Speaker C: I would not. I was not born. And bury your dead. I'm from Dry Gulch. Please. [00:42:02] Speaker B: Yeah. Everybody gets a nickname. [00:42:05] Speaker D: I doubt many people are born here because apparently there are only two women. Dry Gulch. Mary and Laurie. Lori. [00:42:14] Speaker B: But we don't know about Laurie yet. [00:42:15] Speaker H: Yeah. [00:42:16] Speaker D: Gun she's introduced here. He mentions. [00:42:19] Speaker B: I just want to be careful her name yet. Right. His daughter Lori is. He tries to marry her. [00:42:25] Speaker D: I may have jumped the gun on Alky Joe too. I apologize if I ruin that. I'm. I'm jumping Gun Dick. [00:42:32] Speaker B: I don't know if you did or not. It doesn't matter. [00:42:34] Speaker C: I think Alki Joe was out there. [00:42:36] Speaker D: For all of us. [00:42:39] Speaker B: All right, so what are our two cliffhangers for this one? [00:42:42] Speaker D: Well, we have Nasha floating, covered in blood and rust back into the boxcar. Or a fat man getting out of a box car. [00:42:52] Speaker B: Well, the first one. [00:42:53] Speaker C: Interesting parallel. [00:42:54] Speaker D: I know. [00:42:54] Speaker F: Yeah. [00:42:55] Speaker B: The first one is fantastic. It's a great cliffhanger and terrifying and Fun. [00:43:00] Speaker D: The second one's fantastic. For completely different reasons. [00:43:03] Speaker B: Right. He just curses them all. Oh, that's what I was going to mention. There's an interesting moment where he's told that the guy is killed by a wolf. [00:43:14] Speaker D: Yeah. And the Maestro says something like, it's getting closer and closer to my experiences in Russia. [00:43:18] Speaker B: Yeah. And he's. How did he die again? Oh, by wolves. Interesting. Like he. He takes that in. Right. Like, so it's a really interesting moment where he's interested in that piece of information and says. And reminding him of Russia. [00:43:35] Speaker C: Yeah. Maestro here is starting to reveal what I think is so interesting about him claiming I have all these occult powers. I'm so superhuman. [00:43:47] Speaker B: I'm great. [00:43:48] Speaker C: I'm great. [00:43:48] Speaker B: Yeah. [00:43:50] Speaker C: Where obviously Jack is skeptical of all of that and trying to figure out where on the scale is it true? Because he does have influence, or at least apparently in power over Nasha. Although maybe that's a fraud. Maybe that's her pretending to be under his sway to feed into this idea, this illusion of how much influence the Maestro has that it's obviously an illusion. But somewhere under there, there is something. [00:44:19] Speaker D: That's why he is so preoccupied with the disappearing corpse. Because Jack does believe that the Maestro murdered a man. [00:44:27] Speaker B: Right. [00:44:28] Speaker D: Underneath all the. [00:44:30] Speaker C: Yes. [00:44:30] Speaker D: Magical tomfoolery. [00:44:32] Speaker C: Yeah. For all the. The claims of things that have happened, that was a real thing that the. [00:44:37] Speaker B: Jack, which is another character we're about to meet. Magical tomfoolery. [00:44:44] Speaker D: Should I stick my knife in him? [00:44:45] Speaker B: Should I stick my knife in him? So I vote. I love both cliffhangers. [00:44:52] Speaker D: They're quite a pair of. [00:44:55] Speaker C: What Morse does. Fantastically. Of whether the fight to create a good episode goes well for him or not. Usually does. But the final note. Cliffhanger. He nails it every time. I think, well, I'll find out if that proves to be true or not. [00:45:15] Speaker D: I enjoyed it. [00:45:16] Speaker B: Tim, tell him stuff. [00:45:17] Speaker C: Hey. Please go visit ghoulishdelights.com if you have the opportunity. All these podcast episodes we've been doing are there. You can find more. You can. You can also leave comments, vote in polls. Let us know what you think about these. You will also find our store if you want to buy some swag. If you want a themed logo, coffee mug or whatnot, we have coffee mugs and whatnot. You'll also find a link to our Patreon page. [00:45:41] Speaker D: Yes. Go to patreon.com themorals and become a member of the mysterious old radio listening society. I almost forgot the name of this podcast. And if you are just thrilled beyond words that we are once again returning to a serial and to I love a mystery, you should become a patron. Because we have many other serials on the Patreon page. We do an occasional Patreon only podcast called Cliffhangers of Doom. And we have discussed City of the Dead. Right. [00:46:15] Speaker B: By Carlton E. Morris. [00:46:15] Speaker D: What was the name of that series? I'm just okay about mystery. [00:46:20] Speaker B: I love adventure. [00:46:21] Speaker A: I love adventure. [00:46:22] Speaker D: No, it's something else. [00:46:23] Speaker C: Krasnomorous. Hoo ha's like, yeah. [00:46:27] Speaker B: Adventures by Morse. [00:46:28] Speaker D: Adventures by Morse. [00:46:29] Speaker B: There it is. [00:46:30] Speaker D: So, yeah. [00:46:31] Speaker C: Love the nighttime. [00:46:31] Speaker D: Yeah. We also have a whole podcast for patrons called Old Men Remembering Stuff. So you want to check that out. [00:46:38] Speaker C: It's also worth noting that we are doing the series because of one of our patrons. [00:46:42] Speaker D: Yes. So this is really a good time to become a patron. No matter what time you're listening to this. [00:46:51] Speaker B: If you'd like to see the mysterious Old Radio Listening Society performing live, our theater company performs live recreations of radio dramas live on stage. Classic old time radio shows. A lot of our own original works as well. We've been at it for 10 years. Come see us performing live. Go to ghoulishdelights.com and you can see what we're performing, where we're performing, and how to get tickets. If you can't make it, we're too far away here in Minnesota for you. Then you can get our audio by being a Patreon. That's one of your perks. [00:47:27] Speaker F: We. [00:47:28] Speaker B: The audio recordings of those shows are yours for the taking. So next. [00:47:35] Speaker D: Next we're gonna just jump ahead to the end. No. We will be doing parts five and six of Bury youy Dead Arizona from I Love a Mystery. Until then. [00:47:47] Speaker B: Ouch. [00:47:47] Speaker D: Bump, bump, bump. [00:47:48] Speaker B: Right. [00:47:49] Speaker C: Jumping Dick.