Episode 387: Bury Your Dead, Arizona, Parts 5 and 6

[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 5 and 6 of Bury youy Arizona from I Love A Mystery originally broadcast in 1949. [00:01:29] 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 the antique radio. Listen to the sounds coming from the speaker. Listen to the music and listen to the voices. [00:01:47] Speaker E: The Mutual Broadcasting System presents I Love the Mystery. [00:01:58] Speaker A: Sa. [00:02:32] Speaker E: A new Carlton Morse adventure thriller. [00:02:46] Speaker F: Yeah. Ain't much, but that's where we live. [00:02:49] Speaker G: What's your daughter's name, Jumping Dick? [00:02:51] Speaker F: Laurie. [00:02:52] Speaker G: Laurie, huh? You mean L O R R Y. [00:02:56] Speaker F: L O R R Y. That's plain ignorance. [00:02:59] Speaker G: It is, huh? [00:03:01] Speaker F: Laurie. L A U R A. [00:03:04] Speaker G: That's Laurie, huh? [00:03:05] Speaker F: Well, it ain't Kate. [00:03:08] Speaker A: He's got something there, Doc. [00:03:10] Speaker H: Just a minute. I think we're getting too far ahead of the maestro in Nashville. [00:03:12] Speaker G: What you keep worrying about them for, Jack? They ain't no skin off our nose. [00:03:16] Speaker H: Besides, we practically just the same. It won't hurt to show a little friend in this. I get a feeling our maestro could be a pretty venomous enemy. [00:03:22] Speaker G: You mean he could be witches or something with his mysticism stuff? [00:03:25] Speaker H: Talk sense, dad. [00:03:27] Speaker G: Well, yeah, that does. Does sound kind of silly to me. Even at 6 o' clock in the morning. But if his weapon ain't magic, what the heck hurt can he do us? He sure can't chase us with a knife. Well, look at him. 300 pounds of pure unrendered whale blood. [00:03:42] Speaker F: The fattest man I ever see. Or expect to see. [00:03:46] Speaker G: Can't hardly drag one foot ahead or the other through this sand. [00:03:49] Speaker H: Can we be of any help? My soul. [00:03:50] Speaker I: How much more on this porcher is there? [00:03:53] Speaker H: Just a few Yards more. [00:03:54] Speaker A: Can we help a curse on this desert stand? [00:03:57] Speaker H: Well, we're in the city limits of bury your dead now, so the going should be easier. [00:04:01] Speaker I: A curse unbury your dead. [00:04:03] Speaker G: Hey, don't say that. Well, the folks in bury your dead is going to feed us and put us out. [00:04:08] Speaker A: How long we go? Stop annoying me with your silly pattern. Narcissa and I will arrive in our. [00:04:14] Speaker I: In our own good time. [00:04:16] Speaker G: How you doing, Nasha honey? [00:04:18] Speaker J: You do not say honey to me. [00:04:20] Speaker G: Why not, sugar? [00:04:21] Speaker J: You do not say sugar to me either. [00:04:23] Speaker G: Why not? [00:04:24] Speaker J: Because maybe if you do, I'd stick nice. [00:04:27] Speaker H: Now will you be good? Come on, let them alone. [00:04:29] Speaker G: Yeah, they seem to like their own company better than ours. Well lookie, Jumpin Dick. Tell us more about your little old daughter. [00:04:39] Speaker A: Hmm? Laurie? [00:04:40] Speaker G: Yeah, that little old. Little old Laurie. Female gal. [00:04:43] Speaker F: Well, ain't much to tell except she's had a heap of book education. She talks her dad burnt, citified and purdy. Most folks won't have no truck with her. [00:04:53] Speaker H: You mean your daughter was educated away from bury her dead? [00:04:55] Speaker F: Yeah, I reckon. But again, my will. Why say she should? Darn stuck up. Do you think she'll wear flower sack bloomers like the rest of the women in these parts? No, no, no sir. Not Laurie. She's got to have store bought clothes. [00:05:09] Speaker A: From top to bottom. [00:05:10] Speaker H: You should be proud of your daughter, Dick. [00:05:12] Speaker F: Well, of course I am. But she's about the most expensive female critter yet. Store bought clothes underneath where you can't see them. Why, with ideas like that, you'll never get a husband. And shoes. [00:05:26] Speaker G: You don't mean she insists on wearing shoes? [00:05:29] Speaker F: Darned if she don't. Shoes and stockings, boy. [00:05:32] Speaker G: Well, durned if I don't think you got a pretty desperate case on your hands, Jumping Dick. [00:05:37] Speaker F: Hey, you ain't in the mood to get married, are you? [00:05:40] Speaker G: Oh, hey, now, now, now wait a minute. [00:05:42] Speaker F: You ain't done. [00:05:44] Speaker G: Well, at least not till I've kind of looked her over. [00:05:47] Speaker F: I mean, say, if you look her over and like what you see, you take her off my hands. [00:05:53] Speaker H: Look out, Doc. [00:05:54] Speaker G: What you mean take her off your hands? [00:05:56] Speaker F: Oh, it's got to be legal. [00:05:58] Speaker G: Legal, huh? [00:05:59] Speaker F: Oh, darn right. I want a marriage ceremony which says right in the contract that once I'm shed, I'm shed over for life. [00:06:07] Speaker G: Well, well, jumping Dick, I don't reckon that I'm particularly interested. [00:06:10] Speaker F: Oh, here now, don't go and say that that ain't feded a Rory. [00:06:14] Speaker G: It ain't? [00:06:14] Speaker F: No, no, it ain't. How can you tell? You don't want a good before you've even seen her. [00:06:18] Speaker G: Well, of course I can't. [00:06:19] Speaker F: Of course you can. Now then, how about branching off up to my place? [00:06:25] Speaker H: Not a chance, Dick. We want to get to the boarding house and get some breakfast. [00:06:28] Speaker F: Yeah, but you'll only be a minute. Just one quick look so Texas here can make up his mind. [00:06:33] Speaker G: You mean a young gal is up and around at 6 in the morning? [00:06:36] Speaker F: No, no, she ain't up. But you could sort of peek in through the window. [00:06:41] Speaker A: Look. [00:06:43] Speaker F: Oh, that's all right. Cause there ain't no glass in the way. [00:06:46] Speaker A: Nope, nope. [00:06:48] Speaker G: That ain't my way, Dick. [00:06:49] Speaker F: Oh, ain't, huh? [00:06:50] Speaker G: Nope. I like my women on the hoop, especially when I'm trying to judge them for marrying. [00:06:55] Speaker F: Well, I could have her up and dress, Dick. [00:06:58] Speaker H: What's that building down at the head of the drawer there? [00:07:01] Speaker F: That's Dry Ghost Mary's boarding house. As I was saying, I could have her up out of bed with a hair combed in no time. [00:07:08] Speaker A: Hey, maestro, yelling at me, will you? [00:07:11] Speaker H: That unpainted building at the head of the draws. The boarding house. [00:07:13] Speaker A: Well, when you get there, tell them. [00:07:15] Speaker I: To reserve the best room in the place for me. [00:07:19] Speaker A: And how do you like that? [00:07:20] Speaker F: As I was saying, I can get Lori up and dress. [00:07:22] Speaker H: Forget your daughter, will you? [00:07:23] Speaker F: But this is the first chance to marry you off. [00:07:26] Speaker H: You're barking up the wrong tree. [00:07:28] Speaker F: Ah, what's that? [00:07:29] Speaker H: Doc is just kidding us. He doesn't want your daughter. [00:07:31] Speaker F: Well, he just said himself he didn't know until he seen. [00:07:34] Speaker H: Yeah. For the love of Mike, will you put Dick out of his misery? [00:07:36] Speaker G: Well, I don't know, Jackie. If Laura is as pretty as jumping Dick says she is. [00:07:40] Speaker H: You crazy fool. [00:07:42] Speaker F: That's the way to talk, young fell. Look, you go on over to Dry Girl's Mary's and get your breakfast, and I'll run along home and yank Laurie out and have her over there for you to look at, huh? [00:07:52] Speaker G: Yeah, why don't you do that. [00:07:56] Speaker F: Texas, You're. [00:07:57] Speaker G: You're. [00:07:57] Speaker F: You're the same as married right now. I'll be back quick and you can pay Snow Jack. [00:08:02] Speaker H: I'd like to break your neck. [00:08:03] Speaker G: Oh, what the heck. It's all in fun. [00:08:05] Speaker H: Man, you're getting yourself into this. Don't come around asking for help. Come on. Looks more like a cow barn. [00:08:15] Speaker G: 5, 6, 7, 8 shacks. [00:08:18] Speaker H: What? [00:08:18] Speaker G: Looks like this is all there is to bury you dead. Just them eight shacks stuck around the slopes of this gulf. [00:08:24] Speaker H: Well, Vic said there were only 19 citizens in the town. [00:08:26] Speaker A: 20 until the wolves killed one last night. [00:08:29] Speaker H: That wolf business sounds mighty funny to me. [00:08:32] Speaker G: Yeah, it does, don't it? Man, you sure know you're in the desert. Only six o' clock in the morning. Already it's hot enough to fry eggs. [00:08:40] Speaker H: Well, here we are, such as it is. [00:08:42] Speaker A: Bit on the dilapidated side. Look at that porch. [00:08:46] Speaker G: Looks like your foot would go through it if you stepped on it. Do we knock or just walk in? [00:08:50] Speaker H: Well, let's try knocking. Come on. Up on the pool. Looks deserted to me. No curtains. [00:09:04] Speaker G: Yeah. Look inside. [00:09:06] Speaker A: No carpet. Furniture, though. No answer. [00:09:10] Speaker H: Try again. [00:09:14] Speaker G: I hear somebody inside. [00:09:17] Speaker H: Oh, good morning. Well, you're dry Gulch Mary. [00:09:21] Speaker F: That's right. [00:09:21] Speaker H: You have room and board to offer? [00:09:23] Speaker F: I rent rooms and so have Grove. [00:09:24] Speaker H: That's fine. How about showing us three rooms with baths if you have them? [00:09:28] Speaker F: I don't. [00:09:29] Speaker H: Well, then, three connecting rooms. [00:09:31] Speaker F: All my rooms connect. [00:09:32] Speaker A: I say. But they're locked between, of course. [00:09:34] Speaker G: No. [00:09:35] Speaker F: What do you want to lock your room for? [00:09:36] Speaker H: Oh, wait a minute. We can settle the details later. Can you show us three rooms, then get us some breakfast? [00:09:41] Speaker F: Let me see the color of your money. [00:09:42] Speaker H: That's fair. How much? [00:09:44] Speaker F: Dollar a week apiece for the room. [00:09:46] Speaker A: A dollar a week? [00:09:47] Speaker F: Well, if you don't like it, find someplace else to sleep. [00:09:49] Speaker H: No, no, that's. That's quite all right. That's $3. And how about meals? [00:09:54] Speaker F: 50 cents a day for each of you. Take it or leave it. [00:09:56] Speaker G: Dog gone. [00:09:57] Speaker A: Did you Hear that, Rachie? [00:09:58] Speaker H: 50 cents a day for a week is three and a half. Times three is nine. Ten and a half. You'll feed the three of us for a week for ten and a half. [00:10:07] Speaker F: Don't try to jar me down. [00:10:09] Speaker H: No, no, no. Here's the ten and a half. And here's the extra three dollars for our rooms. [00:10:15] Speaker F: Just lousy with money, ain't you? [00:10:17] Speaker H: No, not exactly. [00:10:19] Speaker F: You ain't the fellow that killed Alkijo last night, are you? [00:10:22] Speaker G: I say, done what? [00:10:24] Speaker F: Killed Alki Joe. [00:10:25] Speaker G: Oh, he must be the feller that Dick is telling us about. [00:10:27] Speaker H: We understood he was killed by wolves. [00:10:30] Speaker J: Human wolves. [00:10:32] Speaker F: Hey, who's that coming? [00:10:34] Speaker H: Oh. Oh, yes. Two more customers for you. [00:10:37] Speaker F: They go stay here? [00:10:38] Speaker H: Yes, if you have accommodations. [00:10:40] Speaker F: Is he that fat or does he just look that way? [00:10:43] Speaker G: No, ma', am, he ain't kidding. He's just as fat as he looks. [00:10:47] Speaker F: I wonder how he does it. I wish I could get my hogs that fat. [00:10:52] Speaker I: Imagine. Your attention, please. [00:11:00] Speaker F: What you puffing about? [00:11:01] Speaker J: The sand is difficult for the maestro. [00:11:06] Speaker I: Now we'll dispense with unnecessary conversation. Madam, I want the best room in your establishment. [00:11:13] Speaker F: Well, you can't have it. [00:11:15] Speaker I: Madam, I demand the best room in. [00:11:17] Speaker F: Now, dear ugly, don't you get tough with me. I've got the best room in this house. Named to keep it. [00:11:23] Speaker J: Shall I stick a knife in her? [00:11:24] Speaker F: My throat Hand back. Hey, don't make a move, none of you. [00:11:28] Speaker G: Jove, Jack, did you see that? She throwed a gun on us quicker than a man could. [00:11:31] Speaker H: Mary, put up that gun. [00:11:33] Speaker F: Tell me how to run my boarding house. But your pretty foot tender feet. [00:11:37] Speaker H: You don't need that gun. No one's gonna bother you now. [00:11:39] Speaker F: You bet the ain't. [00:11:40] Speaker I: Madam, I misjudged you. My deepest apologies. Show us the best room you have available. It will be plenty good. [00:11:50] Speaker F: Well, now, that's more life. Say, what about this girl? And I'm not sure. [00:11:54] Speaker J: Yes, my stuff. [00:11:56] Speaker I: Apologize to this good woman. [00:11:58] Speaker J: Madame, I have been impetuous. Please, you will forgive me. [00:12:03] Speaker F: Is she your wife? [00:12:05] Speaker A: No, no. [00:12:05] Speaker I: I will also want a room for Nasha. [00:12:08] Speaker F: That's a lulu of a name. Nasha, you might. It's all right by me, sister. [00:12:14] Speaker I: Then quickly, a room, hot water and then breakfast. [00:12:19] Speaker F: Let's see the color of your money. [00:12:20] Speaker I: Madam, you question our integrity. [00:12:23] Speaker F: I want a dollar apiece from you and the girls. Now, that's for the rooms. Meals is 50 cents apiece a day. [00:12:30] Speaker I: That's quite reasonable. In fact, very reasonable. [00:12:33] Speaker A: Then dish out at the end of the week. [00:12:35] Speaker F: Money talk. [00:12:36] Speaker I: My dear madam. Filthy Lucas. [00:12:39] Speaker H: Allow me. [00:12:40] Speaker I: What's this? [00:12:41] Speaker H: Let me take care of your week's room and board here. Mary, I think this is right. [00:12:46] Speaker F: Yes. Don't care how you throw money around. Are you sure you didn't murder Alky Joe? [00:12:53] Speaker H: Quite sure. [00:12:54] Speaker F: Well, you folks just wait here now. I got to go see where I'm gonna put y'. [00:12:58] Speaker J: All. [00:12:59] Speaker A: A peculiar situation. [00:13:00] Speaker G: Hey, looky, maestro. Ain't you gonna thank Jack for paying you a nice way? [00:13:05] Speaker I: No thanks is due. The honor of paying my way, as you so crudely put it, is sufficient reward. [00:13:11] Speaker H: You think so? [00:13:13] Speaker I: You are privileged. You can say they helped the maestro in an emergency. [00:13:17] Speaker G: Well, of all the ornery. Hey, what about you, Nasha? Ain't you grateful? [00:13:23] Speaker J: Why should I be grateful? It is you who should be grateful. Yeah, Grateful you have been allowed to live. [00:13:29] Speaker G: Grateful we've been allowed to live. [00:13:30] Speaker J: That is true. Have you forgot the wolves? [00:13:34] Speaker G: Hey, what you talking about? [00:13:36] Speaker J: Wait until tonight when the wolves come. Then you will see. [00:14:22] 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. 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. The Mutual Broadcasting System presents of the Mystery, a new Carlton Morse adventure thriller. [00:16:27] Speaker A: That you, Doc? [00:16:27] Speaker G: Yeah. Man, there ain't a door in this boarding house that don't creak and groan. Make a darn good burglar alarm. Mo, what are you doing? [00:16:36] Speaker H: Come on into my room. [00:16:37] Speaker G: I'm coming. [00:16:40] Speaker A: Y' all gone. [00:16:40] Speaker G: If this ain't like living in a bar. [00:16:42] Speaker A: Yeah, bit of a patrol. [00:16:43] Speaker H: All right when you walk about. Where have you been? [00:16:44] Speaker G: I'm across the hall talking to Nash into my stroke. 50 be tied to Maestro. He says we had better accommodations in the box car. [00:16:52] Speaker A: Did you ever eat such vile food? [00:16:54] Speaker G: Probably the reason we get it for 50 cents a day. Hey, who's that? [00:16:59] Speaker F: It's dry Gulch, Mary. Who'd you think it was? [00:17:01] Speaker H: Good evening, Mary. [00:17:03] Speaker F: Is that so? Who said the food I serve up is by? [00:17:06] Speaker A: I, I, I'm afraid I did. [00:17:08] Speaker F: Ah, well, if you don't like it, you can get out. [00:17:10] Speaker G: But how did you know I said it? [00:17:11] Speaker F: I was listening, that's how I know. [00:17:13] Speaker G: Hey, you admit she was listening at the keyhole? [00:17:15] Speaker F: I was. And the next crack about the food I served, you can all get out the whole kitten caboodle. [00:17:20] Speaker H: We're extremely sorry. [00:17:21] Speaker F: It better be. [00:17:22] Speaker H: Oh, just a minute, Mary. Are you always going to be listening at outdoors? [00:17:25] Speaker F: Well, I'm a mind to. [00:17:26] Speaker H: But isn't that considered bad taste? [00:17:28] Speaker F: I got a right to know what's going on in my boarding house and I'm standing on my right. [00:17:32] Speaker H: You just go right ahead and eavesdrop. Your heart's content. [00:17:35] Speaker F: And mind what you say about my cooking. [00:17:37] Speaker H: We'll be careful. [00:17:37] Speaker F: See that you do. [00:17:41] Speaker G: Well, I know what I'm gonna do. [00:17:42] Speaker H: What's that? [00:17:43] Speaker G: Well, I'm going to bed in the dark tonight with a peeping Tom for a landlady. I ain't gonna take no chances. [00:17:49] Speaker H: All right, remember after this, if you've got anything important to say, say it. [00:17:52] Speaker A: In a low voice. [00:17:53] Speaker G: Well, I got something important to say. What's that, Jack? That there Nashie gal in the mice. [00:17:57] Speaker A: Fool is up to something. [00:17:58] Speaker H: What makes you think so? [00:17:59] Speaker I: I know it. [00:18:00] Speaker G: You remember what Nashie said this morning about the wolves descending on bury you dead tonight? [00:18:05] Speaker A: Rubbish. [00:18:05] Speaker G: Well, Maybe so, but I'm telling you, something mighty funny is happening across the hall in their room. [00:18:10] Speaker H: Well, what? [00:18:10] Speaker G: Well, for one thing, you know them tights like acrobats wear, like long underwear, only skin tight. [00:18:16] Speaker H: Yeah. [00:18:17] Speaker G: Well, Nasha's got a pair of them on black ones. And Valerie see a looker in them. [00:18:22] Speaker A: Nasha is wearing a pair of black tight. [00:18:24] Speaker G: I swear to my grandma she is. [00:18:25] Speaker H: Well, what for? What's the object? [00:18:26] Speaker G: Well, I asked her and I asked him. I spoke. Yeah, and every last word that they'd say was, tonight the wolf howls. [00:18:33] Speaker A: Tonight the wolf howls. [00:18:34] Speaker G: That's all. And when I come out of their room, you know what was happening. Nasha was a laying curled up at the Maestro's feet like a dog. And here's a petting and a smoothing her hair. [00:18:44] Speaker A: But Doc, that's just what happened in the box car. [00:18:47] Speaker G: You were telling me what made my hair stand up on end just standing there watching them. Why, they didn't pay no more attention to me than if I wasn't there. [00:18:55] Speaker H: Why'd you leave? [00:18:56] Speaker G: You think I wanted to stand there and see Nash? You turned into a wolf right in front of my eyes. [00:19:00] Speaker A: Dark. [00:19:00] Speaker G: Well, Dad, G, that's what happened in the box car. [00:19:03] Speaker H: You don't know that it did. You didn't see it happen. [00:19:05] Speaker A: Yes, but Jack, we saw her eyes. [00:19:06] Speaker H: Green and yellow. [00:19:07] Speaker A: Only an animal's eyes shine like that in the dark. [00:19:09] Speaker G: And nothing but an animal could have made them snarly, noisy. [00:19:12] Speaker H: So you think the Maestro's in there turning Nash into an animal? [00:19:15] Speaker G: Well, dog gone it. Jack, I know it don't make sense just well as you do, but something's. [00:19:20] Speaker A: A happening in there. [00:19:21] Speaker G: Something that made me want to get. [00:19:22] Speaker A: Out of there just to. [00:19:25] Speaker G: Hey. [00:19:25] Speaker H: Oh, you're back again, Mary. [00:19:27] Speaker F: Yes, I'm back. [00:19:28] Speaker H: Well, what is it this time? [00:19:29] Speaker F: Talk louder. I can't hear a word you say. [00:19:32] Speaker H: That's just the point we don't want you to hear. [00:19:34] Speaker F: So that's it. You a plotting. [00:19:36] Speaker H: Plotting. [00:19:37] Speaker F: That's what I said. The more I see of you three, the more sure I am that you're the ones that killed Al Joe last night. [00:19:45] Speaker H: Mary, for the 10th time, we did not kill Alki Joe. [00:19:48] Speaker G: Maybe, but doggone Aunt Mary, why pick on us? Everybody else in town swears up and down that Alky Joe was killed by wolves wool attack. [00:19:56] Speaker H: Well, I saw his body this afternoon. It certainly didn't look like the work of a man to me. [00:19:59] Speaker F: That'd be a good way to commit a murder, wouldn't it make it look like an animal done it. [00:20:04] Speaker A: Well, you're certainly the only one in town who believes that. [00:20:06] Speaker F: That's because I'm smarter. [00:20:07] Speaker H: Look, Mary, will you go away and leave us alone? [00:20:09] Speaker A: What's that? [00:20:11] Speaker F: You ordering me out of my own boarding house? [00:20:13] Speaker H: We paid for these rooms. For the time being, they're ours. [00:20:15] Speaker F: Well, if you don't like it, I know. You know what? [00:20:18] Speaker H: If we don't like the way you run this boarding house, get out and. [00:20:21] Speaker F: Take it or leave it. [00:20:22] Speaker H: Well, what else can we do for you? [00:20:24] Speaker F: Talk louder, man. [00:20:27] Speaker G: What a woman. Say, isn't there some way we could. [00:20:29] Speaker A: Put a lock on our doors? [00:20:30] Speaker H: Where would you get a lock? No stores. Besides, as long as she makes a point of letting us know she's listening, what harm can it be? [00:20:36] Speaker G: Well, now, what about Nash and the Maestro? Don't you think you ought to go over there and have a look? [00:20:41] Speaker A: Jack? [00:20:41] Speaker H: No, let him alone. As long as they stay in their rooms, they can't do any harm. That's quite. [00:20:44] Speaker A: And if they open their door or. [00:20:46] Speaker H: Walk in the hall, we can hear them. [00:20:47] Speaker G: But if they go out, will we follow them? Is that it? [00:20:49] Speaker H: Well, we'll see. By the way, Doc, what happened about that old desert rat, Jumping Dick? [00:20:55] Speaker G: What you mean what happened? [00:20:56] Speaker H: Well, this morning he was going up to his house and get his daughter for you to look over. [00:21:00] Speaker G: Oh, yeah, did you see that? [00:21:02] Speaker H: Are you going to marry her? [00:21:03] Speaker G: No, no, she wouldn't leave the house. [00:21:05] Speaker H: The way Dick talked, I thought he intended to drag her down here by the hair if necessary. [00:21:09] Speaker G: I don't know. He just come back and said if I wanted to look her over before I married her, I'd have to come up to his shack. [00:21:15] Speaker A: Didn't you go? [00:21:15] Speaker G: No, I told him I wouldn't walk. Walk across the street to look at a female. Said if he wanted me to see her, he'd have to lasso her and bring her down here to the boarding house. Hey, you think the old coot serious, Jack? [00:21:28] Speaker H: Well, he seemed awfully anxious for you to see her. [00:21:30] Speaker G: Yeah, well, he come back this afternoon and said he'd catch her when she is a sleep and hog tire and towed her down here. [00:21:36] Speaker A: Well, I've always heard the desert breed some weird and wonderful specimens. [00:21:40] Speaker H: We're getting our share this trip. Jumping Dick. Dry girl. Schmidt. [00:21:43] Speaker A: I say, company. [00:21:45] Speaker G: Hey, don't tell me Mary's getting some miners. [00:21:47] Speaker H: Come in, I say. Oh, hello, nature. [00:21:51] Speaker J: The maestro wish to speak with you. [00:21:53] Speaker H: Fine. Tell them to come on in. [00:21:54] Speaker J: No, you must come to him. [00:21:56] Speaker G: Well, to the heck with him. [00:21:58] Speaker H: Very well. And we'll go to him. [00:21:59] Speaker G: Hey, Jack, you gonna let that big tub of goose grease order us around? [00:22:02] Speaker J: You do not say that about the Maestro. [00:22:04] Speaker G: Oh, I see you still got them black tights on. [00:22:07] Speaker F: Why not? [00:22:07] Speaker H: Where did you get them? [00:22:08] Speaker J: I always have them with me. They are my dancing tight. [00:22:11] Speaker H: Why are you wearing them tonight? [00:22:12] Speaker J: That is what the Maestro wished to talk with you about. Will you come? [00:22:16] Speaker H: All right. Come on. Reg. [00:22:18] Speaker A: Doc. [00:22:24] Speaker J: Right in here. The mirror. Maestro is waiting. Maestro, they are here. [00:22:33] Speaker I: Close the door. [00:22:35] Speaker J: Yes, Maestro. [00:22:38] Speaker I: Dress is forsaken. Whole door squeak. Shutters rattle. Boards creak. Musty. [00:22:46] Speaker H: Filthy. [00:22:47] Speaker G: Hey, Maestro, you better not let Dry Gulch Mary hear you. [00:22:50] Speaker I: I told that woman I'd turn her into a manger if she didn't keep away from this room. [00:22:56] Speaker A: You told her that? [00:22:56] Speaker I: I certainly did. [00:22:58] Speaker H: She believed you? [00:22:58] Speaker I: With good reason. I wouldn't hesitate one moment. [00:23:01] Speaker H: Now, look here. You're carrying this mysticism to a point where it's ridiculous. You can't turn anyone into an animal, and you know that just as well as I do. [00:23:07] Speaker I: So you want to defy me. [00:23:09] Speaker H: I don't know what your game is, but whatever it is, you're overplaying your hand. [00:23:12] Speaker I: You still think I didn't turn Nasha into an animal in the boxcar? [00:23:17] Speaker H: I know you didn't. Some clever trick. Yeah. Nash is a woman. She's never been anything else. [00:23:21] Speaker I: With your own ears. You heard a man scream in that boxcar with your own hands. You felt a knife stuck in his heart. There in the dark. [00:23:28] Speaker H: It was a dead man, all right. What's more, I think you killed him. [00:23:31] Speaker I: But when you turned on your flashlight. [00:23:33] Speaker A: He was not dead. [00:23:34] Speaker H: Another of your tricks, Mysticism. I say trick and I mean trick. [00:23:38] Speaker I: It was a trick too. When I sent Nasha floating out of the moving boxcar, then made her return, it was so. I have not yet convinced you I am a great mystic. That I have powers beyond the normal. [00:23:50] Speaker H: You have not. [00:23:51] Speaker I: Then I will prove it tonight. [00:23:52] Speaker H: Just as you like. [00:23:53] Speaker I: I will prove it beyond any reasonable doubt. [00:23:56] Speaker H: Is that why you've called us in here? [00:23:57] Speaker A: No. [00:23:59] Speaker I: No. I called you here to warn you that you must not leave this boarding house tonight. [00:24:03] Speaker G: You're telling us what to do? [00:24:05] Speaker I: I'm warning you. [00:24:06] Speaker H: Why? [00:24:07] Speaker I: Why am I warning you? [00:24:08] Speaker H: No, that isn't what I mean. But why are you warning us? [00:24:11] Speaker I: Because you gave Nasha and me financial assistance. [00:24:14] Speaker H: Yes. I paid you room and board here. [00:24:15] Speaker I: And that is my way of showing my gratitude. [00:24:18] Speaker H: By warning us not to leave the house Tonight? Yes. Now, don't follow you. [00:24:22] Speaker I: Tonight, the wolf pack returns to this village. [00:24:25] Speaker G: That's what Nasha said this morning. How do you know they're coming? [00:24:28] Speaker I: Because I shall bring them. [00:24:30] Speaker H: Just how do you intend to do this? [00:24:32] Speaker I: First, I will put Nasha to sleep. Nasha. [00:24:35] Speaker J: Yes, Maestro? [00:24:36] Speaker I: Curl up at my feet. [00:24:38] Speaker J: Yes, Maestro. [00:24:41] Speaker A: Yes. [00:24:41] Speaker I: Now, close your eyes. You are thinking only what I am thinking. [00:24:48] Speaker F: Yes? Yes. [00:24:52] Speaker I: You are sleepy. [00:24:55] Speaker A: I am sleepy. [00:24:57] Speaker I: Sleep. Nausea. Sleep. [00:25:07] Speaker G: She's sure enough asleep, Alec. [00:25:08] Speaker I: Beyond awakening until I give the word. [00:25:11] Speaker J: You think she is, Jack? [00:25:12] Speaker H: Yes. That's simple hypnosis. Well, she's asleep now. How are you going to bring the wolves? [00:25:17] Speaker I: I will turn Nasha into a wolf. You mean that I will turn Nasha into a wolf. I will send her out to the pack. She will bring them here. [00:25:27] Speaker H: You mind if I yawn? [00:25:28] Speaker I: I will turn Nasha into a wolf. [00:25:30] Speaker H: Well, don't stand there saying it. Go ahead and do it. [00:25:32] Speaker I: Turn out the lamp. [00:25:33] Speaker H: No, do it here in the light where we can see it. [00:25:36] Speaker I: Metamorphosis must take place in the dark. Now turn out the light. [00:25:40] Speaker G: Shall I, Jack? [00:25:41] Speaker H: Yeah, go ahead. [00:25:42] Speaker A: All right, Jack, here goes the light. There. [00:25:46] Speaker G: Man, is it dark in here? [00:25:50] Speaker H: Well, the lights up. Do something. [00:25:54] Speaker I: I am smoothing your hair. It is the hair of a woman. But it is changing. It is changing to the hair of a wolf. The mane of a wolf. You are going to be a wolf. When I say the word. You are going to be a wolf. Masha, you are a wolf. [00:26:20] Speaker F: Those eyes. Those eyes. [00:26:21] Speaker A: They're shining in the dark. [00:26:23] Speaker I: Go, Nasha. Go. Join the pack. [00:26:26] Speaker A: Jack. Jack. She went right out through the window. [00:26:28] Speaker I: The wolf pack will visit Bury your dead tonight. Listen. [00:26:33] Speaker A: Listen. [00:27:14] 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 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. [00:27:59] Speaker B: That was parts five and six of Bury youy Dead, Arizona from I Love a Mystery here on the mysterious old Radio Listening Society podcast once again, I'm Eric. [00:28:10] Speaker C: I'm Tim. [00:28:10] Speaker D: And I'm Joshua. [00:28:12] Speaker B: A walk from the boxcar. [00:28:15] Speaker C: Boxcar to the bustling town center. [00:28:18] Speaker B: Yes. To downtown. Bury your dead. Which I guess consists of a boarding. [00:28:25] Speaker D: House and some shacks. Eight, I think they say. Eight shacks. [00:28:30] Speaker B: Yeah. I don't want to give something away because we do get a little more detail in a later episode. But not much more. But this town begs the question that I have the entire 15 episodes that keeps popping into my head. How the hell is anybody making money here? What's going on? How are you surviving? There isn't anything around you like, did you all inherit? [00:28:54] Speaker D: Well, there is some reason that jumping dick is desperate to marry off his daughter. [00:29:00] Speaker B: Right, Right. [00:29:02] Speaker D: He's just so dad blamed cityfied. [00:29:06] Speaker B: Right. [00:29:06] Speaker D: And has all this book learning. And you get the idea that she's basically the Marilyn monster. [00:29:13] Speaker F: Thank you. [00:29:14] Speaker D: Bury your dad. [00:29:15] Speaker A: Right? [00:29:16] Speaker B: Just stole my. I was going to make that first. [00:29:19] Speaker D: Thing I thought of. [00:29:20] Speaker B: She is the Marilyn monster of bury your dead. Yes. [00:29:23] Speaker C: I suppose there's not a lot of taxes you have to pay and bury your dead. [00:29:27] Speaker B: Yeah. [00:29:27] Speaker D: There's the rattlesnake tax. [00:29:31] Speaker A: That's it. [00:29:32] Speaker B: Right. There's nothing around there hit by a wolf tax. So we find out this really, really great man who is so great. The maestro is so great. Doesn't even get a name. He's so great. He's just Maestro. [00:29:46] Speaker H: Yeah. [00:29:47] Speaker B: We see the crack, the chink in the armor of his BS that he doesn't have money. [00:29:53] Speaker H: Yeah. [00:29:55] Speaker B: Which we all suspected. He's just a blow. [00:29:58] Speaker C: Accommodations. [00:29:59] Speaker B: Right. And we know that they have $25,000 on them. Right. In cash in some kind of satchel. [00:30:08] Speaker D: Money belt. [00:30:09] Speaker B: Money belt. So when he is paying, by the way, I love that moment of, you know, it's 50 cents a meal and a dollar for the week each. And they're like, what? And she takes it as well. If it's too much for you. No, we'd like to live here for the rest of our lives. I was at a bar back as a youth in a very, very small town near Redwood Falls, Minnesota, which I can't remember the name of. But weirdly, I know I'm off the rails here, but bear with me. [00:30:43] Speaker D: Weirdly, so is Carlton in these particular episodes. [00:30:47] Speaker B: So this really tiny town has basically a bar and three houses. It is where the Sears Roebuck catalog was invented. I know it. This really tiny nothing. Which is a dirt road to get into it. So that's a whole other thing. But we went there to that bar and there were about five of us. And I think we were like, oh, it's so busy in here. So we'd all like a beer, we'd all like a shot, and we'd all like a mixed drink. Right. Like there was five of us. Just so. Because you're never going to get back here. It's so packed in here. Right. She goes, okay. And I don't remember the exact amount. Five people, three drinks a piece shot. Right. She goes, okay, so that's $12. And my buddy goes, what? She's like, yeah, well, first of all, it's two for one night or something. There was like so many specials that we had accidentally tapped into. And he looked at her and said, okay, keep that coming until we run out of money. Let's just keep that going. [00:31:51] Speaker D: Were you out with Doc Long? [00:31:54] Speaker B: Right. Kinda. [00:31:57] Speaker D: This first episode I thought was entertaining in many ways. A. I think it's just entertaining. One of Morse's strengths are his eccentric characters. He writes them really well and they're entertaining to listen to. But also that he just does stop this adventure serial for a 12 minute sitcom episode. [00:32:15] Speaker B: Right. [00:32:16] Speaker D: Which is just them going back and forth about Jumping Dick's daughter. And there's no plot in here other than, I mean, finding out that the few women in Perry youy Dead wear flour sack underwear. Was that. I can't remember what it was. [00:32:34] Speaker C: Yes. It used to be that flour sacks would be have patterns printed on them and you would reuse those to sew into clothes. [00:32:42] Speaker B: Yeah, right. [00:32:43] Speaker D: Flour sack bloomers, I think is what he said. [00:32:45] Speaker B: Right, right. [00:32:46] Speaker C: That's an interesting factoid. Here in Minneapolis used to be the flower milling capital of the world. [00:32:52] Speaker D: Well, now I feel obligated to come up with some anecdote before particular installment is through. [00:32:58] Speaker B: It feels like Morse wants to lay some groundwork for this town. Where they're going to be now, what this place is like. And looked up and went, oh no. That's 12 minutes of explaining relationships. Who these people are, what his daughter is, what the town is. You know what I mean? Like. Like he ran out of time. [00:33:20] Speaker D: I think he was just having fun. There is really no significant plot information in this episode other than that there is a boarding house. I think they mentioned that none of the doors locked, so I guess that's maybe important. But I mean there's about 60 seconds worth of important narrative information in here. It's mainly jokes for Jumping Dick. [00:33:44] Speaker B: I want to point out. [00:33:45] Speaker C: I have that one. [00:33:47] Speaker B: I want to put a pin in this. [00:33:50] Speaker D: Put a pin and Jumping Dick. [00:33:51] Speaker B: Yep. Don't ever do that, by the way. It's how you get the swelling now. So I want to put a pin in this point. Think about. Try to remind me. As we're doing this, she mentions all the boarding house rooms are connected by a door. Not only are the doors unlocked, but there's an adjoining door to each room. [00:34:13] Speaker D: Yeah, yeah. [00:34:13] Speaker B: And do Those doors lock. No. [00:34:15] Speaker D: And there's a hand drawing. A hand drawing all these doors. It's like an M.C. escher Francis. [00:34:21] Speaker B: Right. But she's like. It seems significant that you can go from room to room inside the rooms. Like when you have your kids in a hotel and you get the adjoining hotel room. Just keep that in mind. Cause I want to come back to that. [00:34:35] Speaker C: As I was listening to this episode of the Walk Into Town, I'm still trying to work the angles on what the magic trick here is. What's the big con? I'm enjoying the hilarious sell your daughter to me. [00:34:56] Speaker B: Right? [00:34:57] Speaker C: But I'm also thinking that, like, okay, so deliberately, Maestro is walking at a distance behind Maestro and Nasha, and they're talking about this other woman. So I'm starting to think, like, will we ever see Nacha and this daughter at the same time? [00:35:16] Speaker B: Right. [00:35:17] Speaker C: Is there some big planned. I'm going to pretend to be this other person in this town. And the whole thing was this meticulously crafted con. [00:35:30] Speaker B: So I'm with you on that. Years ago, my first listen, that was. And it came back to me listening to it again, where I went, oh, right. That connection I made between Laurie and Nasha. And is there. [00:35:44] Speaker D: I thought the same thing. [00:35:45] Speaker A: Yeah, yeah. And it is. [00:35:46] Speaker C: I'm just trying to. Any little thread of like, right. What can I pull at? That's the fun part of listening to an episode like this. To me, whatever my batting average actually ends up being. [00:35:59] Speaker B: But again, as I pointed out, there's a lot of stuff thrown at you that never materializes with Morse or means anything. And then if you get to the point where, like, I'm just going to ignore it all, that's a mistake too, because some of it does. [00:36:13] Speaker D: They're just so cruel to the Maestro. [00:36:16] Speaker B: Yeah, well, he brought it on himself. Look how fat and ugly I am. I mean, all right, well, I guess then. Game on. If you can call yourself that, then we can go at it. [00:36:25] Speaker D: 600 pounds of unrendered whale blubber. Advice. What Doc says at one point is. [00:36:33] Speaker B: This the one where Jumping Dick says something about how you have a good. [00:36:40] Speaker D: Odds that Jumping Dick says something in one of these episodes, but he says. [00:36:44] Speaker B: Something about how a reference to how fat he is. And Reggie just giggles. It's just like he says, years, blah, blah, blah, insult. And you hear Reggie go, ha. I don't know if it was in this one. [00:37:01] Speaker C: I can't which episode it was. I think it might have been this. This arrive at the hotel where the laughter is Such that I don't know. [00:37:08] Speaker B: That this is the script. [00:37:09] Speaker A: Correct. These guys may just be having a good time. [00:37:11] Speaker B: That's what I was getting at. It sounds like that line was delivered. And Tony Randall giggles at how funny of an insult that is. [00:37:23] Speaker D: Yeah. We mentioned this earlier that there are these episodes that are unwritten, that are just told through exposition. And I believe it's in episode six here when Jack just casually mentions that, yeah, I went and examined the body of Alki Joe. [00:37:40] Speaker B: Yes. [00:37:41] Speaker D: And did sort of an amateur forensics correct job on this guy. [00:37:46] Speaker B: Yeah. That's a frequent thing that's going to happen in these 15 episodes where they're going to tell you something that happened. They to make you think that I miss an episode. [00:37:56] Speaker D: One meta thing I loved is just how loud. And they comment on it. All the doors are and the floorboards in the boarding house. So every time someone opens the door, it's like a haunted house. [00:38:10] Speaker H: Right. [00:38:10] Speaker D: And the floorboards squeak and yeah, it's fantastic. [00:38:13] Speaker B: But it also paints a really good picture of how dilapidated the boarding house is. But also the town is. The sense of desolation, sadness, loneliness. [00:38:28] Speaker C: It called to mind many times, listening through the series, a comparison to City of the Dead, of being in this extremely isolated, weird environment. [00:38:38] Speaker B: Yeah. [00:38:38] Speaker C: I don't know if it's just something that Morse prefers is to have a playground that has very strong walls around it. [00:38:46] Speaker B: Well, a thing that cries in the night. They never leave the mansion. I may be wrong in this, but I believe they got locked in the mansion at one point, or they purposely locked themselves in. But you're right, he likes to create a. There's no way any outside force can come in and help this situation. So you are left with a parameter of solution that is finite. [00:39:13] Speaker D: I think there's a budgetary issue here. He has a very small cast at his disposal. [00:39:18] Speaker B: Well, it's also something that's going to come up and I'm not. I'm not revealing anything, but there are 19 people left in this town. We're not going to meet any of them, but it is 100%. Oh, we can't pay that many actors or even another. [00:39:37] Speaker D: And that is it. [00:39:38] Speaker B: Right. Of which some they reuse, by the way. But there is reference to them. But we don't. We don't get to explore that. Which is unfortunate. [00:39:50] Speaker D: And so Part six ends with the Maestro calling them back into his room. The boys have attempted to have a conversation, sort of recapping where they stand and what their suspicions are, that it's nothing Terribly new. They're called in to see the maestro, and he is turning Nasha into a wolf again. And this time into a creature again. It's strange how he explains it like, oh, no, no, no, no, no. She wasn't killing the townsfolk, but she's gonna turn into a wolf. Go talk to the local wolves. [00:40:25] Speaker C: Call down the wolves. [00:40:26] Speaker D: Yes. And lead them back into the town to kill someone tonight. [00:40:30] Speaker B: Right. [00:40:31] Speaker D: And they see something leap out the window just as they saw something leap out of the boxcar. [00:40:37] Speaker B: Which begs the question, if you have the ability to turn this woman into a creature that can go talk to the other creatures. How are you? [00:40:46] Speaker I: Poor. [00:40:48] Speaker B: You have quite a skill set there. [00:40:52] Speaker C: All these wolves keep borrowing money from me. [00:40:55] Speaker D: He tries to intimate, I think, in the second episode when we first meet him, that he is down on his luck, like, kind of like a gambler. He has highs and lows, and that does not represent his usual status. And also, he says in this episode, the only reason he is warning these fine gentlemen is because they did him the service of paying for his room. [00:41:18] Speaker B: Right. And the wolves pay him in crypto. And so he's not having a good year. [00:41:25] Speaker C: Like the dog. Crypto. [00:41:29] Speaker B: Oh, yes. [00:41:31] Speaker C: That's the reaction that joke should get. [00:41:33] Speaker B: Ah, I see what you guess there was. I haven't seen the movie yet. [00:41:39] Speaker C: He's a dog. [00:41:40] Speaker B: Yeah, I know, I know. Crypto's in the movie. The new Superman. By the way, depending on what year. [00:41:47] Speaker D: This is, the trailers seem to know that crypto is the main draw because it's just like you would think, based on the trailers. It's Crypto the movie. [00:41:55] Speaker A: I love it so much. [00:41:57] Speaker C: I love that dog. [00:41:59] Speaker B: They should do just a crew now. We're off. [00:42:02] Speaker D: Yeah, no, we'll bracket that off. [00:42:04] Speaker B: Yeah, yeah. [00:42:06] Speaker D: And I think a final judgment on these cliffhangers. I mean, there's not a lot of new ground to cover. I think we've covered pretty much everything of interest in this episode, other than we find out in episode six that Jumpin Dick's daughter Laurie will not get out of bed to come meet her future husband, Dyke. [00:42:23] Speaker C: I think that marriage is destined for greatness. [00:42:29] Speaker B: We also, by the way, do know that a dry gulch Mary, which how did you get that nickname? But we find out that she's an eavesdropper. [00:42:38] Speaker A: Yep. [00:42:39] Speaker D: Yes. [00:42:39] Speaker C: And a shameless one. [00:42:41] Speaker B: Right? [00:42:42] Speaker A: Talk louder. [00:42:42] Speaker B: Yeah, right. [00:42:43] Speaker D: He's like a back talking eavesdropper. [00:42:46] Speaker B: But again with Morse. You got all of this information. Is it gonna pan out or isn't it Is it something we need to be aware of or not? [00:42:56] Speaker D: In this particular serial, I think more so than in the Thing that Cries in the Night, he uses more comedy. And so I think it's harder to discern what's a joke and what's a clue. [00:43:10] Speaker B: Right. [00:43:11] Speaker D: And I think we'll have to get to the end to decide is that successful or frustrating cliffhanger wise? [00:43:18] Speaker B: Yeah. Her jumping out the window at the end of six and them seeing that image of her going out the window again and not quite being able to tell if it was her or what shape she. I think it's a great cliffhanger. [00:43:31] Speaker D: I think it's a little repetitive. This is usually in the serial structure. I'm even gonna put all of this at Morse's Doorstep. But you get a couple episodes in and just by the nature of serials, it starts to get a little repetitive. These are the two that really feel like, I'm gonna spin wheels for a couple episodes. [00:43:52] Speaker B: Right. [00:43:52] Speaker D: Try some Comic Relief. [00:43:54] Speaker B: Yeah. Some exposition set up there is the. [00:43:58] Speaker C: Promise this time around, which we didn't mention, but she's now wearing her dancer blacks that I think they suggested that, like, once she's outside, she's almost invisible, which is interesting. [00:44:10] Speaker B: The dancer blacks. I'm sorry to interrupt your thought, but I was thinking about how they're like, oh, that's so interesting. Like, I teach in a high school. Every kid is wearing tights. Tights. Black tights today. Like, that is such a choice by today. And it was interesting how it was like, oh, she's out in public in. [00:44:32] Speaker C: Her specialized sort of clothing. [00:44:34] Speaker B: Right. [00:44:34] Speaker D: Again, I think it was supposed to be like, take some time to imagine that adolescent boys and semi literate men out there. [00:44:44] Speaker C: But it is attractive lady defenestrating herself. [00:44:48] Speaker B: That is 80, 90% of, like, in the high school, that's what they're wearing. Jumping out windows and jumping out windows. All right, Tim, tell him stuff. [00:45:00] Speaker C: Please go visit ghoulishdelets.com that's the home of this podcast. Of course, you can find this podcast anywhere you listen to your podcasts. We're everywhere, like all podcasts are. But if you go to ghoulishdales.com you will find that you can leave comments, you can vote in polls. Let us know what you think about Bury youy Dead, Arizona. Whether as the title of the show or just as advice, you can also find a link to our swag store. You can buy some T shirts, some coffee mugs, some tote bags. Get yourself some mysterious old, real Listening Society Swag and you'll find a link to our Patreon page. [00:45:36] Speaker D: Yes. Go to patreon.com themorals and support this podcast. Mark supported this podcast and as a result we are doing I Love a Mystery. So if you hate this, you can become a patron and do some counter programming in retaliation. [00:45:57] Speaker C: I don't care for a mystery. [00:46:01] Speaker D: No thank you, mystery. We also have many other bonus podcasts available if you become a patron. And one of them, and we've only done one episode and it strikes me that I think I know what we should do for episode two of Morals on movies is we should discuss the new Superman movie sometime behind a paywall. [00:46:20] Speaker B: Or some of the I Love a Mystery movies. No? [00:46:24] Speaker A: Okay. [00:46:25] Speaker D: Yes. [00:46:27] Speaker B: The Mysterious Old Radio Listening Society Theater Company performs on stage live audio drama recreations of classic old time radio and a lot of our own original works. Find out where we're performing, what we're performing, and how to get tickets. We we're somewhere all the time, very frequently performing. Go to ghoulishdelights.com to get that if you can't come and see us. Well, you can hear the audio of that because being a Patreon, we supply you with the audio recordings of our live performances. All right, coming up next, adventures number seven and eight, right? We're at seven and eight of them. Bury your dead, Arizona from I Love a Mystery. Until then. [00:47:15] Speaker D: Lululemon released those deflistration types just last year. They're very popular.