Episode 388: Bury Your Dead, Arizona, Parts 7 and 8

[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 youy 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 roam the world in search of adventure. [00:01:07] 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. [00:01:19] Speaker D: And now settle in for parts 7 and 8 of Bury youy Dead Arizona from I Love A Mystery, originally broadcast in 1949. [00:01:30] 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. [00:01:50] Speaker E: The Mutual Broadcasting System presents I Love the Mystery. [00:02:02] Speaker F: Sam. [00:02:34] Speaker E: A new Carlton Morse adventure thriller. [00:02:48] Speaker G: She's gone, gentlemen. You heard her crash through the window. [00:02:51] Speaker H: What did you do to that girl? Answer me before I shake it out of you. What did you do to that girl? [00:02:55] Speaker G: Don't touch me, Packer. [00:02:56] Speaker H: Then answer me. [00:02:57] Speaker G: I warn you, don't lay a hand on me if you know what's good for you. [00:03:00] Speaker I: Jack, if you want him manhandled. [00:03:02] Speaker A: Yeah, give me and Reggie a chance at him. We'll tan that thick hide of his right there on his fat carcass. [00:03:07] Speaker H: You heard that, Maestro, or whatever your name is, Gentryman. [00:03:09] Speaker G: You mustn't be so disturbed. [00:03:11] Speaker H: Oh, we mustn't be so disturbed. [00:03:12] Speaker A: No. [00:03:13] Speaker G: The three of you will be perfectly safe so long as you remain here in the boarding house. [00:03:19] Speaker H: We're not interested in our own safety. We want to know what you did to that girl Gnasher. To make her dive through that window glass. [00:03:23] Speaker A: Yeah, and lope off down the gust, yelping it to moon. [00:03:25] Speaker H: Now that's crazy. [00:03:26] Speaker A: But we heard her howling her head off. [00:03:28] Speaker H: That wasn't Gnasher. That was a real wolf, Mr. Packard. [00:03:31] Speaker G: That was Nasha. [00:03:32] Speaker H: I say it wasn't. [00:03:32] Speaker G: Very well, Mr. Packard. [00:03:34] Speaker I: Mr. Jack. We saw the glittering eyes. We heard the snarling right in this. [00:03:38] Speaker H: Room in the dark. [00:03:38] Speaker A: Yes, well, supposing it was dark. We seen and heard what we seen and heard. [00:03:42] Speaker H: Of course. But get it through your head. You didn't see Gnasher turned into a wolf. [00:03:45] Speaker A: Well, I say we did. [00:03:46] Speaker H: No, Doc, you only think you did. Everything indicates you did. Because the maestro set the stage to make you think so. But you didn't actually see Gnasher turned into a wolf. [00:03:53] Speaker I: Well, that's true, Jack. Of course. [00:03:55] Speaker A: Yeah. You can't tell me any little old girl in her right mind's gonna go jumping through a window, right? [00:03:59] Speaker I: I could just see her in the moonlight as she went through. [00:04:01] Speaker H: Well, did it look like a girl or a wolf? [00:04:03] Speaker I: Well, naturally, I could only see something shadowy, but it made a long, graceful dive. [00:04:06] Speaker A: Yeah, like a wolf leaping through a wind. [00:04:08] Speaker H: Was it, Reggie? [00:04:09] Speaker A: Right. [00:04:09] Speaker I: Well, yes, I suppose that's how it did. Look, I could see the live outline of a body. Well, that's about all I'm sure of. [00:04:15] Speaker H: Naturally, you could see the live outline if you could see anything. Have you forgotten, Nash? I had on those black dancing types. [00:04:20] Speaker G: Gentlemen, you're making her fearful to do about nothing. [00:04:23] Speaker A: Oh, you think so, huh? Yes. [00:04:25] Speaker G: I have sent Nasha out. She's obeying my will. When I am ready, she will return again. [00:04:34] Speaker H: Listen there. Does that sound like the voice of Gnasher? [00:04:39] Speaker A: It sure don't sound like nothing human to me. [00:04:41] Speaker G: It is Gnasher in the animal form I have given her, calling to others of her kind. Listen carefully. Are there not certain notes, certain tonal qualities that are familiar? [00:04:57] Speaker I: Oh, look here. [00:04:58] Speaker A: You're crazier in a bed buggy, do you say? That sounds like nausea. [00:05:01] Speaker G: Ah, but you don't know nausea as I know her, naturally. [00:05:05] Speaker E: Well, I know one thing. [00:05:06] Speaker H: Yes, yes, I know. We're going out and find that girl. [00:05:08] Speaker G: No, you must not. [00:05:09] Speaker H: Mustn't, huh? [00:05:10] Speaker G: I forbid you to leave this house tonight. [00:05:12] Speaker H: Well, it just so happens you're not in any position to forbid us anything. [00:05:14] Speaker A: And the quicker we get started, the better I'm going to lie. [00:05:17] Speaker I: Let's go. [00:05:18] Speaker G: Jack. [00:05:18] Speaker A: I warn. Warn you? [00:05:19] Speaker G: Death is out there in that moonlight. [00:05:21] Speaker A: Then what's Nasha doing out there? [00:05:23] Speaker G: Nasha is the instrument of death. [00:05:25] Speaker H: Oh, come on. I've stood about all this nonsense. I intend to. [00:05:27] Speaker A: Huh? You going this way? [00:05:28] Speaker H: Sure. Nasha went out the window, so why shouldn't we? [00:05:31] Speaker G: I warn you, someone faces death in this place tonight. If you go out there, I will not be responsible. [00:05:37] Speaker H: We take our own responsibility. You just sit there and worry about your troubles. You want Dirk? [00:05:44] Speaker A: Yeah. Now, look out for the glass around the edge of that window frame. Come on, Reggie. [00:05:50] Speaker H: There, read it. [00:05:51] Speaker A: Come on out, Jack. [00:05:51] Speaker H: I'll be seeing you, Maestro. Give me your hand, Doc. [00:05:55] Speaker A: Yeah, I got you. [00:05:58] Speaker H: Thanks. [00:05:59] Speaker I: Which way do we go, Wayne? [00:06:01] Speaker G: Oh, Maestro, you still have time to return to safety. [00:06:04] Speaker H: Forget it. I just wanted to warn you. When we find Nasha, don't expect us to return her to you. [00:06:09] Speaker A: You still have time. [00:06:10] Speaker H: You're listening to me? It's pretty apparent that you're not a fit companion for Nasha. Your influence over is too great. You can't have her anymore. Now, think that over. [00:06:18] Speaker G: Death is out there in the moonlight. [00:06:21] Speaker A: You have had your warning. [00:06:24] Speaker H: All right, follow me. Where are we going? Up here in the shuttle. [00:06:28] Speaker A: Oh, gone. Something's loose out here tonight. [00:06:31] Speaker I: All right. Don't mind saying I'd rather meet a real wolf than to make meet Gnasher running about on all fours. [00:06:38] Speaker A: Hey, cut it out, Reggie. [00:06:40] Speaker H: Shut up. Cart's down here in the shadow. [00:06:42] Speaker I: It's quite. [00:06:43] Speaker H: Reggie, I want you to stay here. [00:06:45] Speaker I: What's that? [00:06:45] Speaker H: You'll be our lookout. We're up on the side of the hill above the boarding house so you can see everything that goes on. [00:06:50] Speaker A: Yeah, you can even look down into Maestro's room. You see him or sitting there and he's fat, rocking back and forth. [00:06:58] Speaker I: Ugly brute. [00:06:59] Speaker H: Now, keep an eye on him. But watch the rest of the house too. You can see anyone who leaves or enters as long as the moon stays this bright. [00:07:04] Speaker I: But you. You mean you and Doc are going and leave me here alone? [00:07:08] Speaker H: Can't you take it? [00:07:09] Speaker I: Well, I bloody well don't like it. I haven't forgotten yet that the ballet maestro put me to sleep while we were in the box car. Now, what defense have I got against a chappie who can put me to sleep whenever he likes? [00:07:17] Speaker H: But he doesn't know you're out here. How can he put you to sleep if he doesn't know you're around? [00:07:20] Speaker I: How about letting Doc stay here? [00:07:22] Speaker A: Hey, now look, you fell. I don't like the Maestro. No matter you do. [00:07:25] Speaker H: Oh, nuts. [00:07:26] Speaker A: Hey, Reg. Well, Jack's disgusted with crying. [00:07:29] Speaker I: I know it when you two act. [00:07:31] Speaker H: You think that fat man sitting in that rocking chair down in that dump of a boarding house was in charge of the universe. [00:07:36] Speaker A: Well, he's doing a pretty good job of proving that he's straw boss. [00:07:39] Speaker H: Anyway, he hasn't proved anything. [00:07:40] Speaker I: Yes, but Jackie says there's danger. Now, why take this sort of a chance? I mean, splitting out. Why not all stick together? [00:07:46] Speaker H: Because I don't believe there's any such danger, as he says. [00:07:48] Speaker A: Well, me and Reggie do what you want to keep watch for anyway. [00:07:52] Speaker H: Sometime tonight, Nash is going to return. I wanted an eyewitness to what happens. I also wanted to know if anyone else sneaked in or out of that boarding house. [00:07:59] Speaker I: Well, naturally, Jack, if it's important. [00:08:00] Speaker A: What was you planning? For you and me to be a doing. [00:08:03] Speaker H: There's eight houses, three, four shacks and a couple of lean tos which make up the village of bury. [00:08:08] Speaker G: A den. [00:08:08] Speaker A: Yeah, and a kind of a ghost. We were up here at the head of the draw. The houses and shacks are scattered down below on both sides of the gulf. [00:08:15] Speaker H: Yes, well, the Maestro said there was going to be someone killed by the wolves. I want to cover every house on both sides of the gulch. You take one side, Doc, I kick the other. [00:08:22] Speaker I: But what for? [00:08:23] Speaker H: Find out if everyone's inside for the night. Warn them to stay inside and try to find anyone who isn't home yet and get him safely in. Very well. [00:08:29] Speaker I: I'll stay here and watch. [00:08:30] Speaker H: Good boy. If I thought there was any real danger. [00:08:33] Speaker A: Just a minute, fella. [00:08:34] Speaker H: Huh? [00:08:35] Speaker A: But why are you so anxious about having a citizen to bury you dead inside if there ain't no danger? [00:08:39] Speaker I: Yes, Jack, how about that? [00:08:41] Speaker A: The Maestro says the wolves are coming. Well, if he ain't got the power to bring wolves. [00:08:46] Speaker I: Listen. [00:08:49] Speaker A: That there's all. All the answer I need, Jack. [00:08:52] Speaker H: What do you mean? [00:08:53] Speaker A: Well, that there's either a real wolf out there or else that's Gnasher in. Either way, the Maestro's turned his trick. [00:08:59] Speaker H: Listen, you two, I know the Maestro's up to some dirty work, but you. [00:09:02] Speaker I: Still won't admit he turned Gnasher into a wolf. [00:09:03] Speaker H: No. [00:09:04] Speaker I: And you won't admit he has the power to bring wolves down on this place. [00:09:06] Speaker A: No. Well, even if that thing hell ain't. [00:09:09] Speaker H: Out there to prove, even with a dozen wolves howling out there, if the wolves come, it'll be their own accord. Not because a fat man called them. [00:09:15] Speaker A: But Jack. [00:09:16] Speaker H: I'm not gonna argue anymore, Doc. You stay here with Reggie. [00:09:19] Speaker A: Hey, where are you going? [00:09:20] Speaker H: Never mind. You stay here with Reggie and keep an eye on the Maestro's window. [00:09:23] Speaker I: But he hasn't moved. Sitting down there in that rocking chair. Rocking back and forth in the lamplight like a huge grotesque shadow. [00:09:30] Speaker H: Watch him. Both of you stay here until I come back. [00:09:34] Speaker A: Reggie. Well, something's awful wrong about this. [00:09:37] Speaker I: I know it's. [00:09:38] Speaker A: That wasn't right letting Jack go off that away by himself. [00:09:40] Speaker I: There's no Use trying to keep him here. [00:09:42] Speaker A: Maybe I should ought to run and catch up with him. [00:09:44] Speaker I: Well, do you want to? [00:09:45] Speaker A: No. I think he's wrong to go out there. [00:09:47] Speaker I: Right. [00:09:48] Speaker A: So do I. I ain't never seen him so stubborn about anything. He shouldn't have went. I don't know how I know it, but I do. And I think he knows it, too. [00:09:57] Speaker I: You think he's deliberately going out to danger? [00:09:59] Speaker A: I swear to my grandma, I do. And I think I know why. [00:10:02] Speaker I: You do? [00:10:03] Speaker A: Yeah. Something's happening that he can't understand. And Jack ain't a fellow that'll take something that he can't figure out or lay him down. [00:10:10] Speaker I: You mean he doesn't believe in the Maestro's magic? And he's either going to prove this is a fraud or die trying. [00:10:15] Speaker A: Hey. Hey, look down in the Maestro's room. Look at him. [00:10:19] Speaker I: He picked up the lamp. [00:10:21] Speaker A: He's coming to the window. Hey, what's that for? Look at the way he's waving that. That arm around there. [00:10:28] Speaker I: It's some kind of a ritual. [00:10:30] Speaker A: Richie, quiet. He's making signs. [00:10:32] Speaker I: See how he keeps repeating the same gesture over and over? [00:10:35] Speaker A: You mean some more of his mysticism stuff? [00:10:37] Speaker I: I don't know. [00:10:39] Speaker A: Hey, that doggone wolf is an answer. [00:10:42] Speaker I: Ain't that silly, Doc? [00:10:43] Speaker H: No, it ain't. [00:10:43] Speaker A: Look. Look how excited he is looking at that expression on his face. [00:10:47] Speaker H: Oh, Jove. [00:10:50] Speaker I: I say, Doc. Shut up. [00:10:51] Speaker A: Reggie. Listen, Reggie, I'm a wringing wet with. [00:10:56] Speaker I: Sweat, but what was it? What was it? [00:10:58] Speaker A: A girl laughing. A girl out there somewhere with them wolves laughing. That. [00:11:02] Speaker I: That man down there's a bloody maniac. [00:11:04] Speaker H: Look at him. [00:11:05] Speaker I: He's gone back to that rocking chair. [00:11:07] Speaker A: Yeah, Sitting there with his eyes closed. Rocking. Rocking. [00:11:10] Speaker I: Doc, hadn't we ought to go find Jack? [00:11:13] Speaker A: I wish to goodness I knew what. [00:11:14] Speaker I: Doc, hold it. [00:11:16] Speaker A: Huh? What's the matter? [00:11:17] Speaker I: There's something coming this way. This. Maybe it's. [00:11:22] Speaker A: Hey, it's a girl. Shut up, Reggie. What'd you hang on to me for, Sally? [00:11:35] Speaker I: Izzy, haven't you got any sense? [00:11:36] Speaker A: But that girl needed help. [00:11:38] Speaker I: Did you see any girl? [00:11:38] Speaker A: Well, not in the dark, naturally. [00:11:40] Speaker I: Moonlight. [00:11:40] Speaker A: You trying to say that wasn't any girl? [00:11:42] Speaker I: I don't know whether there was or not, but this is some more of the Maestro's dirty working. [00:11:45] Speaker A: Doc. Reggie. Hey, that's Jack. Doc. Reggie. Help. [00:11:49] Speaker H: Help. [00:11:49] Speaker A: Done shooting. Come on, Reggie. [00:12:35] 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 I love the mystery. [00:13:51] Speaker H: It. [00:14:26] Speaker E: On the old Carlton Morse adventure thriller. [00:14:36] Speaker A: Jack. Jack, where you at? Jack, answer so as we can hear. Doc, I take the Careful. Yeah, careful of what you appear dashing. [00:14:44] Speaker I: Around this broken ground and. [00:14:45] Speaker A: But, but Reggie. Jack, was he yelling for Hell, I. [00:14:48] Speaker I: Know that as well as you do. And it sounded like he was right about here when he yelled to us. [00:14:51] Speaker A: And then that rifle, a ricocheting and that girl light. [00:14:53] Speaker I: Well, we'll never be able to find him in the dark like this. We've got to go get some help. [00:14:56] Speaker A: But don't you get it, Reggie. He may be shot and needing us right this very day. [00:14:59] Speaker I: I know it. That's why it's foolish for us to be chasing around in the dark. Let's go back and get some lanterns and some of the residents of Barrier dead to help us. [00:15:06] Speaker A: Stand still. Let me try calling again. Jack. Hi, Jack. Where are you? [00:15:12] Speaker H: Oh, oh, listen. [00:15:14] Speaker A: Darn wolf. [00:15:15] Speaker I: Look. Look Doc. [00:15:17] Speaker H: Look. [00:15:17] Speaker I: Outlined against the sky on that rise over there. [00:15:19] Speaker A: Holy jumping mackerel. What is that? A full grown hipponoceros? [00:15:26] Speaker H: The wolf. [00:15:28] Speaker I: Oh, listen to him. [00:15:29] Speaker A: Never mind the wolf. We are looking for Jack. [00:15:31] Speaker I: Well now, don't you see how impossible it is? Please Doc, let's go back to the boarding house and get help. [00:15:35] Speaker A: Waste all that time. [00:15:36] Speaker I: Well, not as much as we're wasting. This way. [00:15:38] Speaker A: Hey, hey, hey. Hold it. [00:15:39] Speaker H: What is it? [00:15:40] Speaker A: Something's a comin this way. Crouch down. Either that or running on all four. [00:15:44] Speaker I: You don't suppose that sobbing girl's coming back? [00:15:46] Speaker A: I don't know. Hold it. Something's a comin through the grease wood. [00:15:54] Speaker I: All right. [00:16:00] Speaker F: Howdy boy. [00:16:01] Speaker A: Hey, who. Who said that? [00:16:02] Speaker F: Kind of start. Yeah. What's going on out here? [00:16:07] Speaker A: Who are you? [00:16:08] Speaker F: Jumping Dick. Hey, ain't you that tow headed Britishers staying at Dry Ghost Mary? [00:16:14] Speaker I: That's right. We need your help badly, Dick. [00:16:16] Speaker F: You do, huh? Who's that with you? [00:16:18] Speaker A: It's me, Doc Long. [00:16:20] Speaker F: Well, that's you Texas. Well, now, ain't that a coincidence. I was just on my way over at the boarding house to tell you about my daughter, Laurie. [00:16:27] Speaker I: Look here, Dick, we haven't got time to talk about your daughter. [00:16:29] Speaker F: Ye ain't. [00:16:29] Speaker A: For the love of my feller, haven't you heard all the commotion that's been going on out here tonight? [00:16:33] Speaker F: Commotion, huh? What sort of commotion? [00:16:36] Speaker A: What sort of commotion? Girls screaming and laughing. Girls are sobbing wolves. A howling guns going off. [00:16:41] Speaker F: Oh, shucks, now, you don't say. Where have I been all this time? [00:16:45] Speaker A: You mean you didn't hear none of it? [00:16:47] Speaker F: Not one bit of it? I didn't. [00:16:50] Speaker I: But look, you can hear that wolf. You can see him outlined against the moon over there on that next ridge. [00:16:54] Speaker F: Oh, sure, sure. That's old Brent. [00:16:57] Speaker A: Old Brent? [00:16:57] Speaker F: Yeah, he's the old he wolf of the pack. He's been sitting over on that ridge howling at night for, oh, I don't know how many years. [00:17:05] Speaker A: Well, ain't he one of the wolves that pulled down and tore up Alky Joe? [00:17:09] Speaker F: Now, don't reckon. [00:17:09] Speaker I: But look here, there's something more important than wolves. Something's happened to Jack. [00:17:13] Speaker F: You talking about your friend Packard? [00:17:15] Speaker I: Yes, we're out looking for him. [00:17:16] Speaker F: What makes you think something's happened to him? [00:17:18] Speaker A: Well, there ain't no thinking about it. We know it. We heard him yell for help and then we heard a rifle shot and a girl laughing. Well, we ain't been able to find hiding her hair of him since. [00:17:26] Speaker F: How long ago did all this happen? [00:17:28] Speaker A: Oh, 10, 15 minutes ago. [00:17:30] Speaker F: Well, then I reckon your friend's all safe and sound. [00:17:33] Speaker A: You seen him? [00:17:34] Speaker F: Not five minutes ago. [00:17:35] Speaker I: Are you certain? [00:17:36] Speaker A: Sure. [00:17:36] Speaker F: Shooting. [00:17:37] Speaker A: But where, where is he now? [00:17:38] Speaker F: Over in the boarding house talking to that there Maestro fella and the Roosin girl. [00:17:43] Speaker I: Talking to the Maestro And Gnasher? [00:17:45] Speaker F: Well, he was. He was five minutes ago. [00:17:47] Speaker A: Well, darn, he's hide anyway. Come on, Reggie. What's he think he's pulling on us? Running around in the desert yelling for help? And then when we start scouring for him, he sneaks back to the boarding house. What kind of a way is that to act? [00:18:01] Speaker I: And Nasha? Apparently, she's back. [00:18:03] Speaker A: Back? [00:18:03] Speaker F: Where's she been? [00:18:04] Speaker A: Well, the Maestro turned her into Doc. Oh, yeah? [00:18:08] Speaker I: Yeah. [00:18:08] Speaker A: Okay. Huh? [00:18:10] Speaker F: What kind of talk's that? Maestro turned her from a girl into. Well, what's that supposed to mean? That don't make sense. [00:18:18] Speaker I: Quiet, Doc. Hardly ever. [00:18:19] Speaker A: Well, looky here. Jumping Dick. [00:18:20] Speaker F: Are you sure Jack's all right? Well, all I know is what I seen. I looked in the window yonder, and there was your sidekick Packard, and the fat man and the roosting girl. Are you aiming on going back to the boarding house and join us? [00:18:34] Speaker A: Yeah. Now I want to find out what sort of a circus Jack's putting on. [00:18:38] Speaker F: I'm telling you, he's all right. Now then, I want you to listen to me for a Minute. [00:18:44] Speaker A: Well, go ahead, but keep walking. [00:18:45] Speaker F: Yeah, well, now, look at Texas. You're still in a marrying mood, ain't you? Oh, look here, you're still wanting to take Glory off my hands all legal and proper, ain't you? [00:18:58] Speaker A: Hey, I never. I never said that I'd marry you. Female daughter. [00:19:01] Speaker F: Now wait a minute, son, wait a minute. Don't go throwing careless words around like that. [00:19:06] Speaker A: Looky, Jumping Dick, things has been a happening bury you dead tonight. It's had me sweating one minute and give me cold chills the next. I ain't in no mood for a girl courting tonight. [00:19:16] Speaker F: Oh, so you aim to go back on your sworn words? [00:19:19] Speaker A: I didn't give no sworn words. You blame? Well, no. Hey, and what about you? You were supposed to bring that Laura daughter of yours around the boarding house 7:00 clock this morning for me to look over. [00:19:30] Speaker F: Yeah, but it's just like I said. [00:19:32] Speaker A: Seven o' clock this morning you were supposed to bring her. And did you? No. Here it is. 10 o' clock at night. You ain't even brought her yet. [00:19:39] Speaker F: Well, now, that's what I want to explain to you. [00:19:43] Speaker A: I don't want no explanations. You ain't kept your word, so I ain't obliged to keep mine, see? [00:19:48] Speaker F: Now look ahead, Texas. I got a good excuse and I aim to tell it to you. [00:19:52] Speaker A: Well, hurry up, on account of here we are at the boarding house and we gotta go in first place. [00:19:57] Speaker F: The reason I didn't bring Laurie over at 7 o' clock this morning, she wouldn't come. [00:20:04] Speaker A: Wouldn't come? [00:20:05] Speaker F: Ain't that what I'm telling you? [00:20:06] Speaker A: And you let her get away with it. No. [00:20:08] Speaker F: Now wait till I explain. [00:20:09] Speaker A: What kind of a man are you? Jumping Dick, let a little old female daughter telling you what to do. [00:20:14] Speaker F: Well, dad, busted. I'm trying to tell you she got the draw on me. [00:20:18] Speaker I: What's that? [00:20:19] Speaker F: I'm telling you the gospel truth. She beat me to the draw. [00:20:23] Speaker I: Dick, are you trying to say your own daughter pulled a gun on you? [00:20:25] Speaker F: Yeah. What's more than that? She punctured me like a. A sieve. If I'd have made one false move. [00:20:31] Speaker A: Well, jumping Dick, that sure does explain why you couldn't get Lori down here at seven this morning. [00:20:36] Speaker F: Ah, but things is different now. I got the upper hand now. I got her right where I want her. [00:20:41] Speaker A: Yeah, where did you want her? [00:20:43] Speaker F: I got her locked in the cell. Now, if you wish to come along with me, we could all go up to my place and Hog Tire and stop all this nonsense. [00:20:51] Speaker I: Why do you want to tie her up? [00:20:52] Speaker F: Well, that's the only way you're gonna get her to stand still long enough to get a good look at her. Father, is that you? Holy jumping jeepers. [00:21:01] Speaker A: Hey, who's that? [00:21:02] Speaker F: That's my daughter, Laurie. Father, what are you doing here? Time you were in bed. Yes. Laurie, who are these men? [00:21:10] Speaker A: Well, this here is Reggie York. Yeah, and I reckon I'm Doc Long, the fella your papa wants you to marry. [00:21:18] Speaker F: What did you say? [00:21:20] Speaker A: Hey, you don't know about it. [00:21:23] Speaker F: Father, what have you been saying to these men? Nothing, Laurie, nothing. These fellas is crazy. [00:21:29] Speaker I: Oh, but I say, I thought you were locked in the cellar. [00:21:31] Speaker F: The cellar? What cellar? [00:21:34] Speaker I: At your cabin, naturally. [00:21:36] Speaker F: Our cabin doesn't have a cellar. Come along, Father. Good evening, Jenna. [00:21:43] Speaker A: Well, I'll be a double jointed tow frog. Did you see her face in the moonlight, Reggie? Did you see it? [00:21:49] Speaker H: Most beautiful. [00:21:50] Speaker I: I say, she was real, wasn't she? [00:21:52] Speaker A: Say, Reggie, you suppose we been taken for a ride? [00:21:55] Speaker I: Oh, now, don't include me. I wasn't supposed to marry that girl. [00:21:58] Speaker A: Well, dang, Dev, I don't believe every word that old coot's been a saying to me was just plain lies. [00:22:02] Speaker I: It's hard to imagine a girl like that drawing a gun on her father. Matter of fact, I got the impression he was ballet frightened of her. [00:22:08] Speaker A: Man, what a voice. Cool, soft, low. Reggie, if I ever go to heaven, that's just exactly the way I want to hear them female angels talk. [00:22:18] Speaker I: Amazing, isn't it? For a village of 19 citizens, Verrio de Arizona certainly is loaded with mystery. [00:22:23] Speaker A: Ain't it the truth? [00:22:25] Speaker I: Well, shall we go in and tackle Jack? [00:22:26] Speaker A: Hey, I just thought of something. If Jumping Dick was a lying about his daughter, maybe he was a lying about Jack. [00:22:32] Speaker I: You mean Jack may not be with the maestro? [00:22:34] Speaker A: Well, come on, let's find out. Down the hall here. [00:22:40] Speaker I: Doc, you're passing the door. [00:22:42] Speaker A: If Jack's been laying out on the desert, no pounding on my door. I say, is Jack in there? [00:22:48] Speaker H: Yes, come on in, Reggie. [00:22:49] Speaker A: Hey, he's there. [00:22:51] Speaker I: Oh, I say, Jack, you're all right. [00:22:53] Speaker H: Certainly I'm all right. [00:22:54] Speaker G: Shut that door. [00:22:55] Speaker A: Yeah. Now then, Jack, what the heck's been going on? [00:23:00] Speaker H: That's what I've been trying to find out. [00:23:01] Speaker I: But Jack, out there on the desert, we heard you cry for help and then we heard a gunshot. [00:23:05] Speaker H: They weren't shooting at me. [00:23:06] Speaker A: Well, why'd you yell for help? And, and then. Then I wait for her. [00:23:09] Speaker H: Didn't have time. [00:23:10] Speaker A: Didn't have Time. [00:23:10] Speaker I: Why did you yell for help? [00:23:12] Speaker H: A wolf had me down. [00:23:13] Speaker A: A wolf? Sure enough. Wolf? [00:23:15] Speaker H: Biggest wolf I ever saw. That's when I yelled. And somebody fired that gun and it streaked off across the desert like crazy. Look at my coat, I say. [00:23:22] Speaker I: Ripped right down the back. [00:23:23] Speaker H: Luckily I fell on my face. My throat and face were protected. [00:23:26] Speaker A: But what did you mean you didn't have time to wait for us to get. [00:23:29] Speaker H: I jumped to my feet and I saw something sneaking through the grease wood and I took out after it. [00:23:32] Speaker I: Well, what was it? [00:23:33] Speaker H: It was Nasha. I followed her here to the boarding house. [00:23:36] Speaker A: Was she girl or wolf? [00:23:38] Speaker H: Girl. [00:23:38] Speaker A: Yes. [00:23:39] Speaker G: I had transformed her back into her natural shape before I brought her back. [00:23:43] Speaker H: Rubbish. [00:23:44] Speaker G: I changed her back into her natural form. Just as you see her now lying on her bed asleep. [00:23:51] Speaker A: Why you got her asleep? [00:23:53] Speaker G: She's exhausted. She's always exhausted after participation in one of my manifestations. [00:24:00] Speaker A: She sure does look all in all right. [00:24:02] Speaker I: But Jack, all this still doesn't explain that girl laughing hysterically out there. [00:24:05] Speaker A: Yeah, and it don't explain that girl at Pice to sobbing like her heart had break. [00:24:09] Speaker H: I heard the girl laughing. [00:24:10] Speaker A: Did you see her? [00:24:11] Speaker H: No. In the morning we're gonna have a talk with every person and bury your dead. [00:24:15] Speaker G: In the morning, the citizens of bury your dead are going to have something much more interesting to talk about. [00:24:22] Speaker H: Is that so? [00:24:23] Speaker G: Quite so. [00:24:24] Speaker H: Such as what? [00:24:25] Speaker G: That will have to wait for the dawn. Tonight my work is finished. [00:24:30] Speaker H: I wish we could be sure about that. As a matter of fact, I wish we could be quite sure just how much you had to do with tonight's work. [00:24:36] Speaker G: I was responsible for everything that took place out there. [00:24:40] Speaker H: You didn't move from this room. [00:24:41] Speaker G: Nevertheless, what I say is true. Tonight I turned Nasha into. Into a wolf. She went forth and led the pack down on bury your debt. You know what I'm going to do tomorrow night? [00:24:54] Speaker D: What? [00:24:55] Speaker G: Tonight I turned Nasha into a wolf. Tomorrow night I'm going to turn a wolf into a man. [00:25:02] Speaker A: I say. Hey, cut it out. [00:25:04] Speaker G: I will turn a wolf into a man. And I will give you the privilege of talking to him. [00:25:10] Speaker A: Are you just plain talking, trying to give us nightmares? [00:25:15] Speaker G: Well, gentlemen, there is the wolf who will walk like a man. [00:26:01] 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. [00:26:51] Speaker B: That was part seven and eight of Bury youy Dead, Arizona from I Love a Mystery here on the mysterious old Radio Listening Society podcast once again, I'm Eric. [00:27:01] Speaker C: I'm Tim. [00:27:02] Speaker D: And I'm Joshua. [00:27:03] Speaker B: Things are happening now. This is, I will be honest with you, my favorite part of this whole series. Right here in the middle of all the episodes and all of it. This middle part is fun, fun, fun. Jack screaming for his life. You know, help me. [00:27:24] Speaker D: The cliffhanger. [00:27:25] Speaker B: The cliffhanger. But part seven, but the woman laughing, the wolf howling. There's just a lot of gunshot. Gunshot. There's scary stuff. [00:27:34] Speaker G: Also. [00:27:35] Speaker B: Reggie's reluctance to be alone is an interesting. [00:27:42] Speaker A: Really? [00:27:42] Speaker B: You're going to leave me here? Tough guy is tough guy not wanting. [00:27:47] Speaker D: To be left alone. I think I said that a couple episodes. It's like if. If it's an actual legitimate dangerous criminal known to do physical violence to others, he has no fear of it. [00:27:57] Speaker B: Right. [00:27:57] Speaker D: If it's a magician's magic trick or. [00:28:02] Speaker B: Supernatural paranormal, he doesn't want it. Yeah. There's a lot going on here that I really love it. [00:28:09] Speaker D: Really. [00:28:09] Speaker B: We're in the meat of this thing now. [00:28:11] Speaker D: I feel like we have a whole new game of dancer or wolf. [00:28:17] Speaker B: Yeah. Right. [00:28:18] Speaker D: Show people pictures. [00:28:20] Speaker B: Dancer with wolves. [00:28:25] Speaker C: The aspect of the episode I like. [00:28:27] Speaker D: Is the. [00:28:29] Speaker C: Vaguely Grand Central Station nature of the outdoors, of bury your dead, Arizona. Of just as sparse as the town is. If you wander on at night, you'll meet people just out and about like, hey, there's Jumping Dick. Hey, there's Lori. [00:28:46] Speaker B: Hey. Only four of them, though. [00:28:49] Speaker C: The rest, percentage wise, that's a lot of people. [00:28:52] Speaker D: Yeah. And it's out in the desert. There must be no stars out. It must be a very dark night because it's not like they're running between trees. [00:29:01] Speaker B: Well, they. So this is bringing up. [00:29:03] Speaker D: No, the grease wood. Yeah. [00:29:05] Speaker B: I had to look it up. [00:29:07] Speaker D: Shrubbery. [00:29:07] Speaker B: Yeah. I was like, what in the hell is the shrub? Because they've been talking greasewood since episode one. [00:29:13] Speaker D: Yeah. [00:29:13] Speaker B: And it's a terrible name for a plant. And I was like, oh, what is this going to look like? Is it scary? No, that's a. It's a bush. [00:29:22] Speaker D: Yeah. [00:29:23] Speaker B: It's nothing interesting at all. And not very tall. They don't get very tall. And not a lot of them. So there's not a lot of ways to hide. [00:29:33] Speaker D: No. There'd be a lot of crouching involved in it. [00:29:36] Speaker B: Yes. [00:29:36] Speaker D: Yeah. But these are guys who can't tell the difference, again, between A dancer leaping out a window and a wolf. They're both so graceful. [00:29:49] Speaker B: So, yeah, I. I like the separation of Jack going off and con and why he convinces him. I also like the conversation of why is he doing that? Because he's pissed. He's so mad at all of this happening and is so determined to show that there is no magic going on. There's nothing that this is just a. [00:30:10] Speaker D: This is a charlatan insight into his pathology. He now obsessively has to just prove the Maestro wrong. Because at this point are somewhat low. [00:30:23] Speaker C: There's still a dead body presumably out. [00:30:24] Speaker D: There somewhere, and that is it. Which has vanished. And Jack is pretty much the only one convinced it exists. [00:30:31] Speaker B: Right. We're talking about the first one on the train. Yep. [00:30:35] Speaker D: There's been threats that wolves are gonna eat other people because the death of Elkijo, though, was before they arrived. [00:30:44] Speaker B: Right. [00:30:45] Speaker D: At this point, there's one dead body. And I know for fiction that's low stakes. I know in our lives that would be incredible. [00:30:53] Speaker B: Right? [00:30:53] Speaker D: Right. [00:30:54] Speaker C: Well, the body's gone missing. [00:30:55] Speaker D: Yes. And so there's no proof that it even happened. So in order to prove there was a murder, he has to prove the Maestro is a charlatan. But you also kind of get the idea that it has more to do with Jack's ego and justice because he. [00:31:12] Speaker B: Was made to look foolish on that train with him. You're not. You're not a mystic. You're a charlatan magician. It's just a trick. And oh my God, there's a man. And I'm holding the knife and now it's gone. He's embarrassed by that. So that's makes for interesting storytelling in the sense of motivation and where he's going and why. Why he needs them to watch him. You make sure he doesn't do anything so that I can set out to prove this wrong. [00:31:47] Speaker C: The plotline of Jumping Dick, I have locked my daughter in the cellar. That story takes a strong turn into the less comedic, more alarming. And then finding her and go, what are you talking about? That we don't have a cellar. [00:32:02] Speaker B: Right. Which is the first thing I thought of. You have a cellar in the desert? [00:32:08] Speaker D: Yes. [00:32:08] Speaker B: Right. How did you possibly be build that? [00:32:12] Speaker D: And why Atom bomb shelter. [00:32:15] Speaker B: Yeah. And then why are you lying about her? Right. And that she pulled a gun on you. And all of these things about Laurie. [00:32:26] Speaker C: That aren't true, including the fact their name is Laura. [00:32:30] Speaker B: Right. [00:32:32] Speaker D: There's also just Doc and Reggie just don't know what animals look like. Because they see the old brindle, the he wolf, his silhouette and. [00:32:42] Speaker B: Right. [00:32:43] Speaker D: What is Doc call him? I got. It's a full grown hippopotamus. [00:32:46] Speaker B: Hippinoceros. Yes, yes. That by the way, is a running gag in I Love a mystery. [00:32:52] Speaker D: The word hypnosaurus. [00:32:53] Speaker B: Hypnosaurus. [00:32:53] Speaker D: Okay. Morris is just finding a way to shoehorn that running gag in. [00:32:57] Speaker B: Yeah, that he uses that phrase and something about his grandma. Well, I'll. [00:33:02] Speaker D: He says spank me like a baby a lot, but. [00:33:04] Speaker B: Right. [00:33:05] Speaker D: It's hard to tell whether. Is that the name of. Is it spank me like a baby Arizona or is that a directive? [00:33:12] Speaker B: No, there's a. Well, I'll be a something by my grandma. It's a phrase that is used quite often by Doc Long and now I don't remember it, but hypnoceros has been used before. [00:33:24] Speaker D: And then after all this exciting cliffhanger, they bump into Jumping Dick. They have this conversation and he's just like, well, yeah, Jack's back at the boarding house talking to the maestro. [00:33:33] Speaker B: Right. [00:33:33] Speaker C: And they're like, yeah. [00:33:35] Speaker D: God, I hate Jack. [00:33:37] Speaker B: Right. [00:33:38] Speaker D: Son of a bitch. [00:33:40] Speaker B: It's never quite explained. Maybe I missed it. And I've listened to this a lot, why Jack is screaming and running and he's screaming for help. [00:33:50] Speaker D: Well, because the wolf had him pinned. [00:33:52] Speaker B: Ah, that's right. [00:33:53] Speaker D: That's what he explains. [00:33:54] Speaker C: Yeah, that's why he fired the gun. [00:33:56] Speaker B: But then he downplays it like, yeah, I'm fine now. I know. I'm in here trying to figure out with the maestro. You know what I mean? [00:34:02] Speaker C: I assume he fired the gun not to shoot the wolf, but to scare the wolf off. [00:34:06] Speaker D: Someone fired the gun. It wasn't Jack. Oh, and I can't remember if this is answered if it was Lori, Laura, Jumping Lori, Laura. Or if that's another mystery, it's a family name that is just out there. That a gunshot scared off the wolf. [00:34:21] Speaker B: Right. [00:34:22] Speaker D: But that does not explain the crying girl that they heard or the laughing girl. [00:34:27] Speaker B: Crying and laughing girl, Great vaudeville act. [00:34:31] Speaker D: Hi, I'm crying. I'm laughing. [00:34:33] Speaker C: One of you's got a future. [00:34:39] Speaker D: So we're left with all these questions and the maestro again is just like, let's put a pin in it because there's going to be something even worse come tomorrow morning. [00:34:49] Speaker B: Right? [00:34:51] Speaker D: I'm fat. [00:34:53] Speaker B: The crying girl and laughing girl and the wolf howl and Jack screaming and the gunshot. I just want to say it's great. Scary, suspenseful. I love a mystery radio moment. Right. So you better Tell me what's going on. But I am sufficiently worried. And also that it fortifies Reggie's concern. Like, yeah, see, we shouldn't split up. Everything's crazyville. [00:35:21] Speaker D: And to swing back to one of Tim's crazy theories from a few episodes ago, where you speculated and we said that we also had the suspicion that perhaps we were never going to see Nasha and Laurie in the same place at the same time because they were the same person. That is somewhat confused by the fact that they are clearly played by the same actor. It's Mercedes McCambridge in both roles and doing a great job distinguishing them. But her voice is so distinctive that you know immediately that it's her. And you have that moment where, like, is this budgetary or narrative is. [00:35:57] Speaker B: And it's correct. [00:35:57] Speaker C: The narrative pointedly making sure these people. Like, one disappears and then the other one arrives. [00:36:03] Speaker B: It's frustrating because it's exactly what's painted for us. One disappears, one arrives. They are really distinct in their voices, yet it's obvious that they're the same. [00:36:20] Speaker C: If you were going to make them the same character, that would be. You might want to have the same actor play them both. [00:36:27] Speaker B: Yes. And so it is a giant red herring by Morris of, like, really feeds into wanting to connect Laurie and Nasha. [00:36:39] Speaker D: We will see. [00:36:41] Speaker B: We will see. What. What is seven? [00:36:45] Speaker D: The cliffhanger is just, I'll see you boys in the morning, right? Really? Well, no, actually, he tells them that he is going for his next trick. Ladies and gentlemen, I will be turning a wolf into a man. [00:37:00] Speaker B: Yeah. Which is a really good cliffhanger. I think so. [00:37:06] Speaker D: Yeah. Because he appears to do everything he says he's going to do. You might not believe that that's actually what he's doing, but, you know, he's gonna come up with some trick to make it appear as if that is what he's doing. Yes. [00:37:21] Speaker C: In the category of these cliffhangers, that's outlandish. [00:37:24] Speaker D: Mm. [00:37:25] Speaker C: It's not just exciting, like, oh, I want to see that. It's. What are you even talking about? What's that gonna look like? Why? [00:37:33] Speaker B: And again, if you can do this, how are you poor? Hello, my baby. Hello, my darling. [00:37:40] Speaker D: Hello. [00:37:42] Speaker B: You have. You should be rich. [00:37:44] Speaker C: I have to eat a full turkey every day to maintain my weird. [00:37:52] Speaker H: Oh. [00:37:53] Speaker B: So I turn humans into turkeys and eat them. [00:37:58] Speaker D: A great cliffhanger in episode seven. Probably the best in the. As far as conventional cliffhangers go. I think just realizes, oh, crap, I threw away, like, six cliffhangers. I'm gonna Put like six of them in this one cliffhanger here. And have gunshots and wolf cries and women crying. Women laughing. Jack crying for help. It's just. He throws everything at it. [00:38:22] Speaker B: Yeah. Which is exactly why I think it's my favorite episode. Right in the middle here of everything. Not to say, all right, everybody goes downhill from here. You got eight more left. But I just love everything about this particular. [00:38:37] Speaker C: The quality. It reminds me of cliffhangers from City of the Dead of I can hear like a gunshot. I can hear something that is immediately dangerous and threatening that I have to go run and catch up to what that sound is. [00:38:50] Speaker B: Yeah. City of the Dead had that great convenience of that bell going off. Yeah. In the distance. [00:38:59] Speaker C: That you. [00:39:00] Speaker I: You're. [00:39:00] Speaker C: It's immediate. You're protagonist. I gotta get up and run to that. [00:39:03] Speaker B: And thing that cries in the night had the convenience of just baby crying. And there's no baby in the right. [00:39:11] Speaker D: First person ever to say, that's convenient. Baby crying. [00:39:15] Speaker H: Oh, thank you. [00:39:16] Speaker C: This makes everything so much easier. [00:39:19] Speaker D: The white noise of parenthood. But the one nice thing about the last episode eight, Cliffhanger, is that it foreshadows that for his next trick, the maestro is going to push himself beyond Nasha because he specifically says he's going to take a wolf and he's going to transform that into a man. And it starts to make you wonder, am I gonna see a new character? [00:39:46] Speaker B: Right. Which does remind me of that character from City of the Dead that we did in the Patreon. [00:39:54] Speaker D: He's got a great name too. And I can't remember him. And I was so excited to meet him. And then he just turns out you're dead. [00:39:59] Speaker B: Right. [00:40:00] Speaker C: Leaping Peter. [00:40:01] Speaker D: Yeah. Boozy Bob. [00:40:09] Speaker B: Tim Tellem stuff. [00:40:10] Speaker C: Please go visit ghoulishdelights.com that's the home of this podcast. You can find us anywhere that you listen to your podcast. But if you go to GhoulishDelights, you'll be able to leave comments. Voting polls let us know what you think about these episodes. You can make it personal. Your own personal opinion. And we will hear it eventually. We do look at those and you'll also find links to our store. If you'd like to get a T shirt or a tote bag. I love our tote bags. And you'll find a link to our Patreon page. [00:40:39] Speaker B: Yes. [00:40:40] Speaker D: Go to patreon.com themorals and become a member of the mysterious old Radio Listening Society. There are so many perks recommending old time radio episodes. For us to listen to is just one of them. We have bonus podcasts. We have Morals Happy Hours. We have My Mysterious Old Book Club. There is a lot going on. Oh, and Discord. So you can not only communicate with us through Discord, but you can also connect with your other fellow patrons and admirers of the podcast. So go there right now, give us just a little bit of money and become a member today. [00:41:19] Speaker B: And the Mysterious Old Radio Listening Society Theater Company performs live on stage radio dramas, classic old time recreations and a lot of our own original work. You can find out where we're performing and what we're performing and how to get tickets by going to ghoulishdelights.com if you can't make it to our shows. Well, you can listen to them as a patreon because we record them and we give you the audio as part of being a patreon of those live audio performance. So it's like getting more old time radio shows that you can listen to and fall asleep to. [00:41:54] Speaker D: Yes. Coming up next, you're like that tryptophan of old time radio. [00:42:03] Speaker B: We are going to be listening to episodes episodes nine and ten of Bury your. [00:42:07] Speaker D: We're getting the double digits. Here we go. [00:42:10] Speaker B: Of Bury your Dead Arizona from I Love a Mystery. [00:42:13] Speaker C: Until then, I have to eat a full turkey every day to maintain my weight.