[00:00:16] Speaker A: The Mysterious Old Radio Listening Society Podcast.
Welcome to the Mysterious Old Radio Listening Society, a podcast dedicated to suspense, crime and horror stories from the golden age of radio. I'm Eric.
[00:00:36] Speaker B: I'm Tim.
[00:00:37] Speaker C: 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 A: 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.
[00:01:05] Speaker B: 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 C: And now settle in for parts 9 and 10 of Bury youy Dead, Arizona from I Love A Mystery, originally broadcast in 1949.
[00:01:29] Speaker A: 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 D: The Mutual Broadcasting System presents I Love the Mystery.
[00:02:01] Speaker E: It.
[00:02:34] Speaker F: On you.
[00:02:35] Speaker D: Carlton Morse, Adventure thriller.
[00:02:47] Speaker E: That's it.
[00:02:47] Speaker F: Put the bed against the door Here, I'll give you a hand. Right over there.
[00:02:51] Speaker G: Let's go.
[00:02:55] Speaker F: Yeah, that ought to do it. You got both windows covered with blankets, Jack?
[00:02:59] Speaker H: Yeah. Nobody ain't gonna peak in this row. Good.
[00:03:02] Speaker G: Now, see, Jack, what's it all about?
[00:03:04] Speaker F: We've got to do some talking and I don't want to be interrupted.
[00:03:06] Speaker H: Our landlady's gonna be plenty mad if we don't talk loud enough for her to hear.
[00:03:09] Speaker F: She's one person. I don't want to overhear us. Come on, sit down. I'm gonna keep my voice guarded. All right?
[00:03:14] Speaker H: Okay. Cute fella.
[00:03:16] Speaker F: All right.
Now, two men have been killed and buried since we arrived.
[00:03:20] Speaker H: By wolves?
[00:03:20] Speaker F: By the maestro.
[00:03:21] Speaker G: Hey, can you prove that?
[00:03:24] Speaker F: No, But I believe it enough that I'm going to try to prove it. And I believe that's the third murder he's committed since we made his acquaintance.
[00:03:29] Speaker G: You're talking about the butter you touched in the dark boxcar?
[00:03:32] Speaker F: Yes. Now, Jack, I don't want to argue, Doc. I just want to outline a theory. I think there was a body in the car. And that somehow, after he let me touch it, he threw it out of the moving car. Now, that's one murder. The second was the Night our boxcar was shunned out of a siding. That same night, Alky Joe was killed. Killed here and buried.
[00:03:47] Speaker E: Dent.
[00:03:47] Speaker H: Well, Jack, none of us knew about that killing until Jumping Dick come along and told us about it. Don't you remember?
[00:03:52] Speaker F: You and Reggie and I didn't know about it. We don't know what the Maestro.
[00:03:55] Speaker G: But we all woke up together. The first thing we knew, the car had been dropped off on the siding.
[00:03:59] Speaker F: That's the first we three knew. We don't know how long the Maestro had known. It may have been there for hours.
[00:04:03] Speaker H: Yeah. Yeah, he could have done it, I reckon. But why?
[00:04:06] Speaker F: All I'm trying to do now is show that he was in a position to do all three murders.
Then the third murder last night.
[00:04:13] Speaker H: Yeah, Chinese Tom.
[00:04:14] Speaker F: This morning the body was found outside his cabin, slashed and torn by fangs and claws.
[00:04:18] Speaker E: Beastly.
[00:04:19] Speaker F: There's something interesting about both these men killed here.
[00:04:22] Speaker I: How you mean?
[00:04:23] Speaker F: Alki Joe is a very old, defenseless, decrepit man. So his Chinese Tom, old, frail, easy prey.
[00:04:29] Speaker G: I say, that's true, isn't it?
[00:04:30] Speaker H: But. Well, what's that mean?
[00:04:32] Speaker F: I don't know for sure yet. I'm just stating facts, miss.
[00:04:34] Speaker G: But, Jack, how can you possibly link the Maestro with Chinese Tom's death? He was in his room here in the boarding house all the time. He was under our eye almost constantly.
[00:04:42] Speaker F: But Nasha wasn't.
[00:04:44] Speaker H: Yeah. Yeah, Nasha wasn't. And what's more, the Maestro said his very self that he turned Nasha into a wolf and sent her out to bring the pack down for a kill.
[00:04:52] Speaker G: But that doesn't make him a murderer.
[00:04:54] Speaker H: Well, I'd like to know why it doesn't.
[00:04:55] Speaker G: Because there isn't a jury in the world who'd believe it. How about it, Jack?
[00:04:58] Speaker F: You'll have to go as far as a jury. I don't believe it.
[00:05:00] Speaker H: Well, what would happen if. If we'd tell all the Maestro said.
[00:05:04] Speaker E: To us to a judge?
[00:05:05] Speaker F: Well, if the Maestro insisted we told the truth, the judge would lock him up in a padded. And probably find another cell for the three of us for believing him. Now we're getting off the subject. I'm not trying to prove how he killed. I'm just saying I think he did.
Now, if he's killed three times, there must be a reason behind it.
[00:05:19] Speaker H: Unless he's just a plain homicidal maniac.
[00:05:22] Speaker F: Maybe. But I think there's more to it than just that. I think there's some kind of a plan behind all this. I think he's working towards some payoff.
[00:05:29] Speaker G: But look here, Jack. What possible payoff could there be in a place like bury a dead more tremendous than murder itself? I don't know.
[00:05:35] Speaker F: That's what we've got to find out. There's one thing we do know for certain.
[00:05:38] Speaker E: Yeah?
[00:05:38] Speaker F: Yes.
That what he wants has nothing to do with bury your dead itself.
[00:05:42] Speaker H: Well, how do we know that?
[00:05:43] Speaker F: Because our coming here was accidental. He couldn't have known our boxcar was going to be left in this forsaken Arizona desert hole any more than we did. Therefore, what he wants to accomplish. He would have wanted to accomplish just as much if the bockscar had stopped in Texas or Timbuktu.
[00:05:57] Speaker G: Well then, as I see it, what he wants concerns either the girl, Nasha, or.
[00:06:00] Speaker H: Or us three.
[00:06:01] Speaker G: I mean, we're the only elements that arrived and bury her dead at the same time he did.
[00:06:05] Speaker F: That's good reasoning, Reggie. Except I don't see how it could be any of us three.
After all, we just happened to get on the same freight car with him and Gnasher. Our meeting was as much as accident as our stopover in this place.
[00:06:16] Speaker H: Well, then it looks like all this business has got something to do with Nasha.
[00:06:19] Speaker F: It looks like it. There's another thing. That girl's completely in his power. So completely I doubt if she has much will of her own.
[00:06:26] Speaker H: Well, she seems to like it. Hey, wait a minute. You don't suppose she's a filthy rich heiress or something, do you? I say yeah. Money to burn. And he's getting her in his power so as he can get it for himself.
[00:06:36] Speaker F: That couldn't be it.
[00:06:37] Speaker H: Why not?
[00:06:37] Speaker F: Well, first place, she doesn't show much breeding or background. Besides that, she really is an acrobatic dancer. Just watch her throw herself around sometime. That shows training from childhood. And finally she told us herself that she'd been with his magician act for two or three years.
[00:06:51] Speaker E: Yeah, yeah, that don't tie up, does it?
[00:06:53] Speaker G: Jack, you still don't think the Maestro is a great magician, do you?
[00:06:56] Speaker F: Well, I've changed my mind. I think he's a very great magician.
[00:06:58] Speaker H: Hey, you do.
[00:06:59] Speaker F: Now don't get me wrong. I still think this mysticism gag's baloney. But he's out of deception. His. His ability to take advantage of the average person's gullibility is tremendous. That's what I mean by great. Quiet. So we know definitely this much. He's got a hidden plan. What he's trying to accomplish has nothing to do with bury a dead.
He Has Nasher completely in his power.
And finally, he's a very clever man.
[00:07:22] Speaker G: I say, that isn't very much.
[00:07:23] Speaker F: Well, it's a beginning. And on top of all that, we suspect him of committing three murders.
[00:07:27] Speaker H: Hey, Jack, if you forgot something.
[00:07:29] Speaker F: What's that?
[00:07:30] Speaker H: Tonight's the night. He said he is going to turn one of them wolves out yonder into a man.
[00:07:34] Speaker F: No, I haven't forgotten. It's early yet. Wolves haven't started to howl.
[00:07:37] Speaker H: Well, what we gonna do about that? You suppose there gonna be another killing tonight?
[00:07:41] Speaker F: I doubt it. The remaining residents in Bury your Dead are frightened.
They're staying indoors tonight with loaded guns. Any wolves or pseudo wolves prowling around tonight are liable to get a dose of lead.
[00:07:50] Speaker G: What about us? Are we just going to ignore the maestro's big moment?
[00:07:54] Speaker H: Hey, let's don't do that. If he's going to turn a wolf into a man, I'd kind of like to be in on him.
[00:07:59] Speaker D: Don't worry, we will.
[00:08:00] Speaker F: But there's something more interesting than that going on.
[00:08:02] Speaker H: You mean what he's doing in his room?
[00:08:04] Speaker F: Yeah, he's building something.
[00:08:06] Speaker G: Oh, is that what all that sawing and pounding's about? That's been going on in here all day.
[00:08:10] Speaker F: Where'd he get his tools? Dry gulch. Merry let him have them.
[00:08:12] Speaker G: You haven't any idea what it is, huh?
[00:08:14] Speaker F: No. I bet money he's knocking together some contraption or another for one of his tricks of magic.
[00:08:19] Speaker H: You mean he wants to impress us some more?
[00:08:21] Speaker F: I don't know, but it's all a part of the whole plan, whatever that is.
[00:08:25] Speaker H: Yeah.
[00:08:26] Speaker G: Company.
[00:08:27] Speaker E: Hello, Gentlemen. I have completed my task.
[00:08:30] Speaker F: You've done what?
[00:08:31] Speaker E: I have completed my task.
[00:08:34] Speaker F: Well, what about it?
[00:08:35] Speaker E: You will do me the honor of coming into my room and viewing it.
[00:08:39] Speaker H: Hey, he wants us to go in his room and see what he's made.
[00:08:41] Speaker F: Looks like it.
[00:08:42] Speaker G: Well, let's go, gentlemen.
[00:08:44] Speaker E: I'm waiting.
[00:08:44] Speaker H: All right.
[00:08:45] Speaker F: Just a minute.
[00:08:46] Speaker G: Give me a hand with the bed, Doc.
[00:08:47] Speaker H: Yeah. Take it away.
[00:08:53] Speaker E: This way, gentlemen, if you please.
[00:08:55] Speaker F: You seem awfully anxious for us to be in on this deal.
[00:08:58] Speaker E: You talk in readiness, Mr. Baggage?
[00:09:01] Speaker F: I don't think so.
[00:09:03] Speaker E: Right in this way. Peace.
[00:09:04] Speaker H: Well, where's Nasha at?
[00:09:06] Speaker E: I have sent Nasha out into the night on a mission.
[00:09:09] Speaker H: That's so.
[00:09:10] Speaker F: Is. Is that what you've been working on there under that blanket?
[00:09:13] Speaker E: That is it. I have invited you in here for the unveiling.
[00:09:18] Speaker F: Well, pull off the blanket and let's have a look.
[00:09:20] Speaker E: Those are my intentions.
You ready?
[00:09:23] Speaker H: Yeah. Go on, pull her off.
[00:09:25] Speaker E: Yes.
There you are.
[00:09:30] Speaker F: I say, what in the deuce?
[00:09:32] Speaker H: But I don't get it. What's it supposed to be?
[00:09:35] Speaker E: What does it look like?
[00:09:36] Speaker H: Looks like a big pine board box.
[00:09:38] Speaker G: That's just what it is, Doc. A homemade coffin.
[00:09:41] Speaker H: A coffin?
[00:09:42] Speaker E: Exactly, gentlemen. A rough but sturdy casket.
[00:09:46] Speaker H: Oui. What you aim to do with that?
[00:09:49] Speaker E: That will hold a body for burial tomorrow.
[00:09:52] Speaker F: Whose body?
[00:09:53] Speaker E: That's a strange question, Mr. Packard.
Who's dead?
[00:09:57] Speaker F: You mean you spent all day building a coffin for Chinese Tom?
[00:10:01] Speaker E: And why not? I am the cause of his being dead. You.
[00:10:05] Speaker H: You just out and out admit that.
[00:10:07] Speaker E: Certainly.
I told you the wolves would come.
I told you they would kill.
[00:10:12] Speaker F: And because you caused his death, you've gone to the trouble of making him a casket.
[00:10:16] Speaker E: Could I do any less?
[00:10:17] Speaker H: Well, if this ain't the craziest one yet.
[00:10:20] Speaker E: That's a very decent job, don't you think?
[00:10:23] Speaker F: You're certainly all right with a hammer and saw.
[00:10:25] Speaker E: I think this Chinese Tom person should rest more easily. If it hadn't been for me, poor fellow would have been thrown into a hole, covered up just as Alkijo was. Yes, yes, he has a great deal to thank me for.
[00:10:40] Speaker H: Yeah. Such is being dead.
[00:10:42] Speaker E: We must all die. Some today, some tomorrow.
[00:10:45] Speaker G: I say, are you saying someone is going to die tonight?
[00:10:48] Speaker E: No, no, not tonight. I have more important things to do.
[00:10:51] Speaker H: More important than killing folks, huh?
[00:10:54] Speaker E: Yes. Tonight is my great experiment.
Tonight I turn the big wolf into a man.
[00:11:00] Speaker F: That'll be good if you do it.
[00:11:01] Speaker E: Oh, I'll do it when I have sent Nasha out to bring him here.
[00:11:06] Speaker H: Bring the wolf here?
[00:11:07] Speaker E: They should be here soon now.
[00:11:09] Speaker H: Loki, maestro, if you're kid when they.
[00:11:11] Speaker E: Come, the wolf will be striding beside Nasha on his two hind feet. It will have the form of a human being.
[00:11:18] Speaker F: Yeah, that's great talk.
[00:11:20] Speaker E: You still don't believe?
[00:11:22] Speaker F: No.
[00:11:23] Speaker E: You?
[00:11:24] Speaker H: Well, all I got to say is whether you're telling the truth or not, you're one omry that ought to be locked up.
[00:11:29] Speaker E: Ah, I'm sick of your shallow mind wish.
[00:11:33] Speaker H: What's the matter?
[00:11:34] Speaker F: Windows open.
Something outside.
[00:11:37] Speaker E: It will be Nasher and the wolf.
[00:11:41] Speaker F: Jack, look at that.
[00:11:42] Speaker H: There in the moonlight. Hey, it's a man.
He's carrying Nasha in his arms.
[00:11:46] Speaker G: Look at his face.
[00:11:47] Speaker H: It's covered with long hair.
[00:11:49] Speaker E: Stand back, please. Something's happened to Nasha.
[00:11:51] Speaker H: His face is covered with long hair. Coming right up to the wing.
[00:11:53] Speaker J: Please stand back here.
[00:11:56] Speaker E: I will take the girl.
Poor little Nasha.
[00:12:02] Speaker H: Poor Child just standing there.
[00:12:04] Speaker G: Did you ever see a face like that?
[00:12:07] Speaker H: Eyes dead, mouth hanging open, covered with hair. Does kind of look like a wolf, don't he?
[00:12:12] Speaker E: Gentlemen, Nasha is dead. Dead.
[00:12:17] Speaker F: Nasha's dead.
[00:12:18] Speaker E: Dead.
[00:12:19] Speaker F: Here, let me see that girl.
[00:12:21] Speaker E: She's dead. I see.
[00:12:22] Speaker F: We'll see about that.
[00:12:23] Speaker E: You're a medical man.
[00:12:25] Speaker F: I know enough.
[00:12:27] Speaker E: Dead.
[00:12:28] Speaker F: She's cold. She's like ice.
[00:12:30] Speaker E: Dead.
[00:12:31] Speaker F: No pulse.
[00:12:32] Speaker E: I fear our experiment tonight has been too much for Nasha.
Wolf. Go back to your kite.
[00:12:39] Speaker H: Why aren't we going? Wait a minute.
[00:12:40] Speaker F: I want to see that man.
[00:12:41] Speaker E: I have sent him back to the pack.
[00:12:43] Speaker F: Well, I'm going out that window after him. I'm not through with him yet.
[00:12:45] Speaker H: Jack. Jack, come back here. Stay here.
[00:12:47] Speaker F: Don't leave that man for a second.
[00:12:48] Speaker H: Stay there.
[00:12:48] Speaker E: Dead. Nasha. Dead.
[00:12:51] Speaker H: And you did it.
[00:12:52] Speaker G: You did it just as much as if you plunged a knife in her heart.
[00:12:55] Speaker E: Coffin.
So I made the coffin for you after all.
[00:13:00] Speaker H: I wish Jack hadn't gone out there.
[00:13:02] Speaker E: A big coffin.
But it will give you room to sleep more comfortably.
[00:13:50] Speaker D: The further transcribed adventures of Jack Duck and Reggie will come to you tomorrow at this same hour.
I Love A Mystery written and directed by Carlton E. Morse comes to you Monday through Friday. Featuring Russell Thorson as Jack, Jim Bowles as Doc Long and Tony Randall as reggie Yorke. Frank McCarthy speaking.
This program came from New York.
This is the Music Tool Broadcasting System.
The Mutual Broadcasting System presents I Love the mystery.
[00:14:59] Speaker E: SA.
[00:15:34] Speaker D: On the you Carlton Morse adventure thriller.
[00:15:42] Speaker H: Reggie, are we gonna just stand here and let Jack go out after that thing alone?
[00:15:46] Speaker F: Well, I bally well don't like it.
[00:15:47] Speaker E: The moonlight is fraught with danger tonight.
[00:15:50] Speaker H: All right, fella, let's do something about it.
[00:15:52] Speaker G: The dark Jack said to start. Stay with the maestro.
[00:15:54] Speaker H: Look, Reg, if we was to hog time hand and foot, that'd be just the same as stayed with.
[00:15:59] Speaker I: I say.
[00:15:59] Speaker H: Of course.
[00:16:00] Speaker E: Don't touch me.
[00:16:01] Speaker H: Reggie, get a sheet off that bed. Christ.
[00:16:02] Speaker E: I warn you, don't touch me.
[00:16:04] Speaker H: Now, looky, maestro. You can. You can take a choice. You gonna sit down in that chair and let us tie you up or you want I should lay you out like a cart?
[00:16:12] Speaker E: You dare touch the maestro?
[00:16:14] Speaker H: You bet I dare. Now, which is it gonna be? And talk fast.
[00:16:17] Speaker E: Insult on insult.
[00:16:18] Speaker H: Carabash eat ready dried oak.
I ain't fooling. You want I should bop you?
[00:16:25] Speaker E: Oh, very well. If you think you're accomplishing anything, tie me up.
[00:16:30] Speaker H: Now you're talking. Sit down.
[00:16:33] Speaker E: The ways of fools are beyond comprehension.
[00:16:36] Speaker H: Give me some in pieces. You tie up his feet.
[00:16:39] Speaker G: Christ. Put your feet together, Maestro.
[00:16:41] Speaker E: Death out there in the moonlight.
[00:16:43] Speaker H: And you, you fumble with ropes there.
Now put your other wrist over this here arm of the chair. And that takes care of his feet.
Go over and spread that other sheet over. Nash, you poor little thing. Dead because of this fat creature there.
I reckon that'll hold you fool. Maybe. But you'll still be here when we get back.
[00:17:05] Speaker G: All right, Doc.
[00:17:05] Speaker H: Yeah, let's go. And my scro. Well, while we're gone, you might just as well sit there and look at Nasha under that sheet yonder and think what's about to gonna happen to you for killing her.
[00:17:16] Speaker E: Get out of my sight.
[00:17:18] Speaker H: Come on, Reg. Climb through the wind. Right. Oh, right behind you, feller.
[00:17:26] Speaker G: Now then, did you see which way Jack went?
[00:17:29] Speaker H: Yeah, down the draw.
[00:17:30] Speaker G: He'll give us what for if we're.
[00:17:32] Speaker F: Doing the wrong thing.
[00:17:32] Speaker H: Yeah, and he'll likewise be plenty glad if he gets himself into trouble.
[00:17:37] Speaker G: Just enough bloody light from the moon to contain confuse the person.
[00:17:40] Speaker H: It's better in plain darkness.
[00:17:42] Speaker G: You think we ought to yell to him?
[00:17:43] Speaker H: Well, not unless we can't find him any other way.
[00:17:45] Speaker G: That horrible creature that brought Gnasher's body to the window.
[00:17:48] Speaker E: Yeah.
[00:17:49] Speaker H: Nightmare.
[00:17:50] Speaker G: Not a word. Just a gaunt, hairy face with dead eyes and its mouth hanging open.
[00:17:54] Speaker H: Hey.
[00:17:55] Speaker F: Hey, wait.
[00:17:55] Speaker G: What's the matter?
[00:17:56] Speaker H: Was that something moving just ahead of us?
[00:17:59] Speaker F: I didn't see it during this.
[00:18:01] Speaker H: Moonlight does fool you, don't it? Come.
[00:18:04] Speaker G: Well, if you think you saw something.
[00:18:05] Speaker H: Well, I ain't sure. No use just crouching here anyway.
[00:18:09] Speaker G: There's one thing, Doc.
[00:18:10] Speaker H: Yeah?
[00:18:10] Speaker G: If Jack was in trouble, he'd let out a yell.
[00:18:12] Speaker H: Well, we might not have heard him.
[00:18:14] Speaker G: I don't know. Sound carries belly well over the desert.
[00:18:16] Speaker H: Did you bring the flashlight along?
[00:18:17] Speaker G: Right. No use using it here, though.
[00:18:19] Speaker H: Well, I didn't mean that. Just have it handy is all.
[00:18:21] Speaker F: Right.
[00:18:22] Speaker H: Sometimes I wish we wasn't so doggone pure.
[00:18:25] Speaker F: What's that?
[00:18:25] Speaker H: Not carrying pistols on us. Time like this, there ain't nothing that'd make me happier than having a pistol in my pocket.
[00:18:31] Speaker G: No, Jack's right, though. Much better off without them.
[00:18:34] Speaker H: Maybe. Time like this.
[00:18:36] Speaker F: Hey, it's a girl.
[00:18:37] Speaker H: Come on. Come on, let's get going. Somebody.
[00:18:40] Speaker I: Somebody.
[00:18:40] Speaker H: Hurry, please. We're coming. Keep yelling. This way.
This way.
[00:18:46] Speaker F: Joe.
[00:18:46] Speaker G: This belly sand.
[00:18:48] Speaker H: Hey. Hey. I can see a light up yonder. We're coming. We're coming.
[00:18:51] Speaker I: This way. This way.
[00:18:53] Speaker H: Yeah, yeah, we can see your light.
[00:18:57] Speaker I: What's happening here?
[00:18:59] Speaker H: We are what is this?
[00:19:00] Speaker G: What's the matter?
[00:19:01] Speaker H: Right over here.
[00:19:02] Speaker I: Right over here.
[00:19:03] Speaker G: Hey, it's jumping Dick's daughter.
[00:19:04] Speaker H: Lord, look here.
[00:19:06] Speaker G: A man. Is he dead?
[00:19:07] Speaker H: I don't know.
[00:19:07] Speaker I: I just found him.
[00:19:08] Speaker H: Hey, hold your flashlight still.
[00:19:10] Speaker I: My hands are trembling so.
[00:19:11] Speaker H: Here, give me that light.
[00:19:12] Speaker I: All right.
[00:19:13] Speaker H: There now.
[00:19:13] Speaker F: Doc.
[00:19:13] Speaker E: Doc.
[00:19:14] Speaker H: It's Jack. Did not tell you?
[00:19:15] Speaker G: Doc, is he.
[00:19:16] Speaker H: No, no, of course he ain't. You're sure? What's the matter with you? Can't you see he's breathing?
[00:19:20] Speaker I: Good, good.
[00:19:21] Speaker F: Hey.
[00:19:21] Speaker H: Hey, look here. A cut on his head. Oh, I say.
[00:19:23] Speaker G: Well up.
[00:19:24] Speaker H: Somebody is waiting for him here. Here in the greasewood. Jumped out and whammed.
[00:19:28] Speaker I: But he's going to be all right.
[00:19:29] Speaker H: Of course he is. When did a bump on the head ever hurt Jack?
[00:19:32] Speaker G: But I say let's not stand here. Let's get him back to the boarding house.
[00:19:35] Speaker I: Oh, do you think he ought to be moved?
[00:19:36] Speaker H: Oh, yeah, that part's all right. But looky, Reggie, something's funny. What do you mean? Look at his clothes. Hey, tore off.
[00:19:42] Speaker G: You're sure there's no wounds on his body?
[00:19:44] Speaker F: Yeah, just look.
[00:19:45] Speaker G: Well, then, what does it matter? I can carry him.
[00:19:46] Speaker H: Well, what'd they bop him on the head for and then tear his clothes for? I don't. No.
[00:19:50] Speaker G: All we're interested in now is getting him back to where we can give him first aid.
[00:19:54] Speaker H: Yeah, you better let me give you a hand. No, no, I can take him up. Up with him. All right. There now. Let's go.
[00:20:02] Speaker I: Then if you don't need me, you.
[00:20:03] Speaker H: Better come along with us.
[00:20:05] Speaker I: Oh, but. But I've got something I must do.
[00:20:07] Speaker H: Well, it'll have to wait. Cause you're coming with us.
[00:20:10] Speaker I: You're making me come.
[00:20:11] Speaker H: If you want to put it that way.
[00:20:13] Speaker I: No, I won't.
[00:20:13] Speaker H: Oh, you won't, huh?
[00:20:15] Speaker I: You let go.
[00:20:15] Speaker H: Come on, sister, cut it out.
Well, then. Now, calm down. Do as you're told.
[00:20:23] Speaker I: Twist this girl's arm. What kind of a man are you?
[00:20:26] Speaker H: Well, you asked for it. Now, come along now. Go on, Reggie. Right over.
[00:20:32] Speaker I: What possible use can I be to you?
[00:20:34] Speaker E: Jack?
[00:20:35] Speaker H: Was slug. You was out here when it happened. Got some questions I want to ask you.
[00:20:39] Speaker I: You don't think I did it?
[00:20:40] Speaker H: I don't know.
[00:20:41] Speaker I: But I didn't. I.
I was just out here and I stumbled over his body.
[00:20:46] Speaker H: What was you doing out here in the first place?
[00:20:48] Speaker I: Looking.
Looking for something.
[00:20:51] Speaker H: That's so. Honestly, do you very often go out looking for something in the desert at night?
[00:20:56] Speaker I: I was looking for my pop.
[00:20:57] Speaker H: Jumping Dick?
[00:20:58] Speaker I: Yes.
[00:20:59] Speaker H: Well, what's he doing out here this time of night?
[00:21:01] Speaker I: I don't know.
That's why I was so worried. That's why I was out looking for him.
[00:21:06] Speaker H: Yeah. So Jumping Dick's out wandering around through the desert tonight, I reckon. Maybe I'd like to talk to him, too.
[00:21:13] Speaker I: Well, you don't think my father did this?
[00:21:15] Speaker H: You want some help, Reg?
[00:21:16] Speaker G: No, I'm doing all right.
[00:21:17] Speaker I: But you mustn't think he did. His father's mild, gentle.
[00:21:20] Speaker H: He's the biggest liar I ever run across.
[00:21:23] Speaker J: Who's the biggest liar you ever run across?
[00:21:26] Speaker G: Hey, Father say Jumping Dick.
[00:21:28] Speaker J: Dad burned right as Jumping Dick. And I just heard Texas here call me a liar.
[00:21:33] Speaker H: All right, Dick, come on, join the parade.
[00:21:35] Speaker J: I mean, join the parade.
[00:21:37] Speaker H: You're coming up to the boarding house along with your daughter here.
[00:21:40] Speaker J: You just plain got your heart set on man that girl.
[00:21:44] Speaker I: Father, you stop that.
[00:21:46] Speaker A: Now.
[00:21:46] Speaker I: Look, if you mention marriage once more, I'll leave, bury your dead and I'll never come back this time.
[00:21:50] Speaker J: Yeah, sure, sure. It's just my little joke.
[00:21:53] Speaker H: Come on. Reggie's getting ahead of us. Come on, Dick.
[00:21:55] Speaker J: Don't mind if I do.
What's going on around here anyway?
[00:22:02] Speaker H: You ain't the bird that SAP Jack, are you? SAP Jack? Why?
[00:22:05] Speaker J: Say, why would I want to do that? I like that fellow.
[00:22:09] Speaker H: Yeah.
[00:22:09] Speaker I: You can let go of my wrists.
I won't try to get away now that I know where father is.
[00:22:15] Speaker H: Do you mind my hanging on to your hand?
[00:22:16] Speaker I: Yes, I do.
[00:22:18] Speaker H: Well, all right then. Have it your way. Doc.
[00:22:21] Speaker G: Come and open the door for me.
[00:22:22] Speaker H: Yeah, sure. Come on, you folks.
[00:22:29] Speaker G: Shall I take him to his room?
[00:22:30] Speaker H: No, I'll bring him in the maestro's room. Then we can keep an eye on the maestro and fix Jack up at the same time.
[00:22:36] Speaker G: Right off.
[00:22:37] Speaker H: Lead the way here.
Come on in, everybody. Lay him on the bed, Reggie.
[00:22:47] Speaker E: So you're back.
[00:22:49] Speaker J: Hey, hey, what you got this fat fella tied up for?
[00:22:52] Speaker H: Keep him out of Miss Shock.
[00:22:54] Speaker G: Doc, Jack's coming, too.
[00:22:55] Speaker H: Hey, he is?
[00:22:56] Speaker E: What's the matter with him?
[00:22:57] Speaker H: Oh, it's some more of your funny business, I reckon.
Atta boy, fella. Take more than a slug on the head to lay you out.
[00:23:08] Speaker F: Oh, what happened?
[00:23:09] Speaker H: Somebody slugged your son. Get some water, Rich. Right away. Feeling pretty lousy.
[00:23:14] Speaker F: Oh, what a head.
[00:23:16] Speaker H: You ain't kidding there. You got a bump as big as a goose egg. Know who done it?
[00:23:21] Speaker F: Let me think.
[00:23:22] Speaker H: Here's the water for you. Here, take slug of this.
[00:23:26] Speaker F: Ah, thanks. Where am I lying on the bed.
[00:23:30] Speaker G: In the Maestro's room.
[00:23:31] Speaker F: Oh. Oh, yes. What happened?
[00:23:33] Speaker H: Well, you hopped out the window after the nightmare with a hair on his face. Somebody let you have it out there in the dark? Yes.
[00:23:39] Speaker F: Now I remember.
[00:23:40] Speaker H: Know who done it?
[00:23:41] Speaker F: No. That got me from behind. I remember a movement in the back bushes and then shooting stars.
[00:23:47] Speaker H: Yeah, funny thing. All they did was tear about half your clothes off.
[00:23:51] Speaker F: Tear the.
Doc, Doc. The money belt. Money belt?
[00:23:55] Speaker H: Hey, hey. You mean they got that?
[00:23:57] Speaker F: So that's what this is all about.
[00:23:59] Speaker H: You mean some two tailed sippy cats grabbed our 25000 snacks?
[00:24:02] Speaker F: Shut up.
[00:24:02] Speaker G: But Jack, who knew you had the money belt?
[00:24:04] Speaker J: Hey, you mean you've been robbed?
[00:24:06] Speaker H: You keep out of this. Jumping dick.
[00:24:07] Speaker J: Yeah, but all I asked.
[00:24:08] Speaker H: I said it is none of your business. Now keep your nose out of it.
[00:24:11] Speaker J: Sure that's where you want it.
[00:24:13] Speaker H: That's just how I want it.
[00:24:14] Speaker F: What a crazy idiot I've been out to realize.
[00:24:16] Speaker G: Realize what?
[00:24:16] Speaker F: Never mind.
[00:24:17] Speaker H: Say.
[00:24:18] Speaker F: You say I'm lying on the Maestros, Ben.
[00:24:20] Speaker H: Yeah, why?
[00:24:21] Speaker F: But Gnasher was lying down here when I left the room.
[00:24:23] Speaker H: Hey, hey.
[00:24:23] Speaker G: Gnasher's buddy. But where is it?
[00:24:25] Speaker F: Didn't I tell you two to stay here and watch the Maestro?
[00:24:27] Speaker H: But Jack, he couldn't have done it. He's tied up over there in his chair. Tied up hand and foot.
[00:24:31] Speaker F: But he's the only one who could have moved her.
[00:24:32] Speaker H: But I tell you he didn't. He's tied up tight as a tick.
[00:24:34] Speaker E: Don't worry, gentlemen.
Nasha's where she belongs.
[00:24:39] Speaker F: Where's that?
[00:24:40] Speaker E: If you lift the lid of the coffin. Over there against the wall.
[00:24:44] Speaker I: Coffin?
[00:24:44] Speaker H: We'll just have a look and see. Hey, hey.
[00:24:46] Speaker J: What's going on here anyway?
[00:24:48] Speaker H: Yep, she's here, Jack. She's here in the coffin where she belongs. But look at her. She ain't wearing her black tights no more.
[00:24:56] Speaker F: What's that?
[00:24:56] Speaker H: All laid out in her prettiest dress.
[00:24:59] Speaker I: She. She's dead.
[00:25:00] Speaker G: But who did it?
[00:25:02] Speaker E: I did it, gentlemen.
[00:25:03] Speaker H: The heck you did. You're all tied up.
[00:25:06] Speaker E: The ways of the mystic are beyond mortal comprehension.
[00:25:11] Speaker J: Well, I will say this.
She's about the prettiest corpse I ever did.
[00:25:59] Speaker D: The further transcribed adventures of Jack, Duck and Reggie will come to you tomorrow at this same hour.
I Love A Mystery. Written and directed by Carlton E. Morse comes to you Monday through Friday. Featuring Russell Forson as Jack, Jim Bowles as Dock Lawn and Tony Randall as Reggie York. Frank McCarthy speaking.
This program came from New York.
This is the Mutual Broadcasting System.
[00:26:47] Speaker A: That was episodes 9 and 10 of Bury youy Dead, Arizona from Isle of A Mystery, here on the mysterious old Radio Listening Society podcast, so many words once again. I'm Eric.
[00:26:57] Speaker B: I'm Tim.
[00:26:58] Speaker C: And I'm Joshua.
[00:26:59] Speaker A: You know, I said last week in our last episode, oh, I really enjoy these.
I'm going to take that back. I think 9 and 10 are really great, too. These are really fun piling on of what's happening. There's so much stuff and excitement. And I also like in the Morse tradition that somewhere in the middle, let's get everybody in a room and have the main person say, okay, here's what we know and here's what's going on. It's the locked room analysis before halfway through instead of at the end, you know?
So, yeah, there's a lot going on.
The piling of the furniture in front of the door to make sure no one comes in seems excessive, but they do have to have a low conversation. So dry golf Mary. Dry mouth Mary. Doesn't.
[00:28:02] Speaker B: Cottonmouth Mary.
[00:28:04] Speaker A: Right.
Super stoned. Where are the Doritos, Mary?
[00:28:09] Speaker B: This episode is the one that I miss.
[00:28:13] Speaker C: 1.
[00:28:14] Speaker B: What was last one? Go back and listen. No, I didn't miss this.
[00:28:17] Speaker A: Okay.
[00:28:17] Speaker B: No, I missed something that it took me a while to really, truly believe that this just was one of those things where I'm going to provide some exposition of stuff that happened that we did not depict.
[00:28:32] Speaker A: Yeah. And that is the murder of.
Or the death of Chinese Tom.
Again, everybody gets a horrifying nickname.
[00:28:45] Speaker B: You know, I could just be Tomorrow.
[00:28:47] Speaker C: No, no, no.
[00:28:49] Speaker A: That's how you differentiate him from everybody else in town.
Good gosh.
[00:28:56] Speaker C: But just imagine if he were scared of rattlesnakes, though, because then he would be jumping James Tom.
[00:29:02] Speaker A: Right.
And if he had, you know, and.
[00:29:04] Speaker C: If he was an alcoholic and his.
[00:29:05] Speaker A: Gulch was dry jumping.
[00:29:07] Speaker C: Dry Gulch. Chinese Tom.
[00:29:09] Speaker B: Or if he was Chinese.
[00:29:10] Speaker C: Yeah, he'd be Chinese. Jumping Chinese.
Then he's just Chinese checkers.
[00:29:18] Speaker A: Oh, my God.
So we kind of set this up for everybody a few weeks ago. Listening to this podcast. There is.
You will find yourself going, did I miss an episode? And this is the best one Morse has ever done.
Like, you. You're like, what?
Who died?
Some guy. And you're mentioning him like.
Like, you know, that character we've all.
[00:29:43] Speaker B: We talked about.
[00:29:43] Speaker A: We talked about that. We've all grown to love. And no, you've never brought this up before. So this is a huge example of.
Wow.
We have missed a lot of information that is given to us. Like, yeah, he's stupid. You remember this?
[00:30:00] Speaker B: You know, if Carthage Morris actually communicated like that in real life, you know, it would be marital difficulties of, you know, this thing that I imagine that I told you. But now we both are agreeing that we did discuss this.
[00:30:13] Speaker A: Right.
[00:30:14] Speaker C: I think that's pretty much marriage. That's.
[00:30:19] Speaker A: Yeah.
So nonetheless, once you get to the point where you say, okay, fine, I now I have that information, and you move forward. Right. Like, you just move on from, did I miss something? I guess I didn't. It's really fun. There's a lot of fun stuff going on here, not the least of which is we get our walking wolf.
[00:30:42] Speaker C: Yes.
[00:30:42] Speaker B: There's a lot of plot pivot that happens here.
[00:30:44] Speaker F: Yeah.
[00:30:45] Speaker C: And before we get to the wolf who walks like a man, which I want to talk about, there's some interesting reasoning on Jack's part as he goes through what all they know.
[00:30:55] Speaker A: Okay.
[00:30:56] Speaker C: I think it's interesting that he assumes that Alki Joe is one of their victims because he surmises that Doc Reggie and he may have slept through the murder of Alkijou and Nasha, got back in the boxcar, and that all happened while they were asleep. That's interesting. He also is trying to figure out what is and isn't part of the Maestro's plan. And this leap in logic, I don't necessarily see.
What his evidence is for is that the Maestro couldn't have possibly orchestrated or known that this boxcar would have been left here.
[00:31:32] Speaker A: Well, so it is interesting. I do like this when you're thinking, is this a plan by him? It is set up by Morse, that there is no way it is so random. They were in a car. They got in a fight with a bunch of guys. They ran to another random car. There's no way these two could possibly know anything about them. And you didn't know we were going to stop in this godforsaken middle of nowhere. So this can't be your plan.
I like that.
[00:32:03] Speaker C: Oh, I like it, too. I just think. I don't know that you can completely rule out the Maestro having bribed somebody. Maybe that's where all his money went. You know that it has nothing to do with Bury youy Dead Arizona. That's just love the author telling us, hey, this has nothing to do with Bury youy Dead Arizona. I don't know that the story supports that assumption.
[00:32:26] Speaker B: This is the thing I love about the Maestro as a character is that Jack is so bent on denying, no, you can't do these things. You can't do superhuman things, it will blind him to things that the Maestro can do, like bribe a railway person.
If I pull off six things that I claim are magic and five of them are obviously fake, the one thing I did for real, then he's training you to reject that.
[00:33:00] Speaker C: True.
And we also find out that Nasha can't be an heiress because she doesn't act like one. She's a dancer.
[00:33:09] Speaker A: Right.
[00:33:11] Speaker C: And she has no breeding.
[00:33:12] Speaker A: Right.
[00:33:13] Speaker C: Dancers have no breeding.
[00:33:14] Speaker A: Well, she doesn't have the decorum of someone that came from money.
[00:33:17] Speaker C: Yeah, for sure.
[00:33:19] Speaker B: The well behaved, famously graceful wealthy people.
[00:33:23] Speaker C: I think his treatment and views of women in here makes me think that Chinese Tom got off easy, particularly dancing women.
[00:33:35] Speaker B: But as I was approaching earlier, there's a plot pivot to. And suddenly, the Maestro is now building a coffin in his room.
Borrowed tools from Dry Gulch. Marion, I'm building something.
[00:33:49] Speaker A: And some wood. So again, I said in episode one of this I Love a Mystery requires listening loosely.
Where the hell did you get a bunch of wood to build a coffin? Right. And who cares?
[00:34:05] Speaker C: Tore down a shack.
[00:34:06] Speaker A: Right? Exactly.
[00:34:07] Speaker C: Or a shack had fallen down. That's the least of my.
[00:34:10] Speaker A: No, I know there's a lot of big. There's a lot of big holes like that.
[00:34:14] Speaker C: But back to Tim's earlier point, you can't listen loosely because it is that, like gambling, there's intermittent reinforcement. Right. Because some of these things that seem ridiculous or out of nowhere are really important. And then when you find out the reason for them, they're not out of nowhere, like, oh, wait, that retroactively makes sense. High five, Morse.
[00:34:34] Speaker A: Right.
[00:34:35] Speaker C: And sometimes they don't. Sometimes they're not clues at all. Or sometimes they are clues and they still make no sense.
[00:34:40] Speaker A: Right.
[00:34:41] Speaker C: The fun is paying too much attention.
[00:34:44] Speaker A: Yes.
[00:34:45] Speaker C: As long as you're willing to not be terribly disappointed by or frustrated by. Yes. By that investment of your.
[00:34:53] Speaker A: Because the bottom line is to walk in and see that he reveals that he's built a coffin is a cool moment. Right? Like, what is he building? What is building a coffin? Right. It just gets crazier and crazier.
[00:35:05] Speaker C: It's crazier, but it also fits the Maestro. At this point, Morse has spent so much time building him up as a performative character that he's aware of what he's doing to the plot.
[00:35:19] Speaker A: Right.
[00:35:21] Speaker C: He knows the response he's going to get from his audience.
[00:35:24] Speaker A: Right.
[00:35:25] Speaker C: He calls them in to come see what I've done.
[00:35:27] Speaker A: Right.
[00:35:28] Speaker C: He is a child and an actor, which is a redundant term.
[00:35:34] Speaker A: But, yeah, if you don't get hung up on where did you get the wood and blah, blah, and all of these details, you say, oh, he built a coffin. That's fun. Do you get what I'm saying?
[00:35:43] Speaker B: And it is. You build a coffin because you anticipate there being a dead body, and a dead body arrives.
[00:35:49] Speaker A: Right. And we also have three minutes of, what contraption did he build? What did he build? What do you want to show him?
And it's a coffin. Is a kind of reveal. Like, oh, weird. This guy's getting weirder. Like, it's getting scarier.
[00:36:04] Speaker C: Oh, there's another important clue in here that Jack reveals that has not been revealed previously, that both Chinese Tom and Elkie Joe are very old and feeble and frail.
[00:36:17] Speaker A: Yeah. Yep.
And. And also says, I don't know if it has anything to do with anything.
[00:36:22] Speaker C: Yeah.
[00:36:22] Speaker A: But it is important.
[00:36:24] Speaker C: And when he lays these out for the other two, you do have to perk up your ears and go, he's giving Doc and Reggie a lecture, but he's also giving us important information.
[00:36:35] Speaker A: So nine ends with Jack saying, stay here. Don't take your eye off of the maestro. I'm gonna go out and look at Walking Dog. Right?
[00:36:44] Speaker C: Yeah. Because he shows up and they're shocked and appalled. It's kind of a funny moment, though, when they're like, he has long hair on his face. And I'm like, guys, it's a beard.
Imagine how terrified they'd be of ZZ.
[00:36:58] Speaker A: Top are of everybody right now.
[00:37:01] Speaker C: Everybody right now. It's just like, I feel like they could have described it in a way that wasn't describing a beard. That's all I thought of. It's like.
[00:37:10] Speaker A: But I do love that imagery of, oh, my God, he did it. That. That is a walking wolf carrying her.
Also, what's interesting is, oh, no. She was supposed to be bringing him back here, things went wrong, and she's dead. This was not part of my plan. And he's struck by that. Right?
[00:37:34] Speaker C: Yeah. But he just built a coffin. So you also think that's.
[00:37:38] Speaker A: But he built a coffin for Chinese Tom.
[00:37:41] Speaker C: Does he say that explicitly?
[00:37:42] Speaker A: Oh, yeah.
[00:37:42] Speaker C: Okay.
[00:37:43] Speaker A: Why did you build this coffin? Because it's the least I can do. What I did, what I've done, set in motion that Tom died. And so I'm building him a coffin so he can have a proper burial. Oh, so you actually have a heart. Yes. Know, I, I, I feel remorse for what I've done. And then when she's dead, he goes, well, I Guess that coffin now belongs to her. And that's when he says, oh, this coffin's too big for her, but you'll have room, my love, to sleep peacefully in a coffin that's too big for you.
[00:38:16] Speaker C: So the coffin was the Chinese Tom was apparently huge, just a man.
[00:38:20] Speaker B: Well, she's very live.
[00:38:22] Speaker A: Yes, it's an interesting point.
[00:38:24] Speaker B: Like a little boy with nicer legs.
[00:38:26] Speaker A: His plan is right. His plan has gone off the rails. You're led to believe the Maestro's plan, oh, she wasn't supposed to die.
So now Tom doesn't get a coffin. It's all very interesting. And also the imagery in your head of the wolf man walking with her in his arms in the. I guess, moonlight. Right.
[00:38:48] Speaker C: It's romantic.
[00:38:49] Speaker A: Yeah, very romantic. So that's how that first. And then we get to the second ending of 10 where they tie him up. They go looking for Jack and find Laurie out there with.
[00:39:04] Speaker C: With Jack, who's been knocked unconscious.
[00:39:06] Speaker A: Yes.
[00:39:06] Speaker B: Clothes torn off.
[00:39:08] Speaker C: His clothes torn off. Clearly, Lori has not interested in Doc, but he's interested in Jack.
[00:39:14] Speaker A: But 10 gives us the crux of this entire story.
The money belt is missing.
And it's kind of cool because you go back to one and you realize all this talk about the money belt was absolutely imperative to drive the storyline.
[00:39:33] Speaker C: All that exposition at the top of episode one.
[00:39:36] Speaker A: Yeah.
[00:39:36] Speaker B: Every question you had, like, why would any. Whatever this plot is, why would anything so elaborate be taken. Undertaken for $25,000, apparently.
[00:39:44] Speaker A: And also why are we talking about it so much in episode one? Why is it. Yeah, so why are we hung up on this, by the way?
Just so you know, the $25,000 is even before Thing that Cries in a Night.
[00:39:58] Speaker C: Yeah.
[00:39:58] Speaker A: They arrive.
[00:39:59] Speaker C: And they arrive at the beginning of.
[00:40:01] Speaker A: Thing Cries in the night with $25,000 of reward money that they've still not spent.
[00:40:08] Speaker B: And part of Jack's talk was, if I remember correctly, this either has to do with the town, which he doesn't believe, because how would you predict we could come here? We would arrive here with us, which is where they.
The correct answer, apparently. But they didn't clock it at the time.
Or just with the Maestro and Nasha.
[00:40:34] Speaker A: Right.
[00:40:34] Speaker B: Whatever their deal is.
[00:40:36] Speaker A: And Jack was right, all the random stuff was not planned.
[00:40:42] Speaker C: Right.
[00:40:42] Speaker A: So it has nothing to do with bury or Dead itself, just happened to be where they ended up.
Now we just gotta find out who has the money and how did they know they had the money.
[00:40:52] Speaker C: And what's the deal with Jumping Dick and Laurie?
[00:40:56] Speaker B: Yes, but.
[00:40:58] Speaker C: And there's an interesting aside too I want to mention before we wrap up these two episodes. Is Doc bemoaning the fact that they're too pure to carry guns.
[00:41:09] Speaker A: Yeah.
[00:41:09] Speaker C: Is that really the reason you know will beat anybody with any object your fists.
And then he literally twists a woman's arm until she tells him what she needs to know. And like I don't think you're too pure. I think Jack just doesn't trust you with a gun.
[00:41:29] Speaker A: So they talk about where that money is. Right. And who took it. And there's a lot of people to think about. Here's what I thought and isn't really brought up. The only one that really technically from what we know, not the things we don't know, but what we know is dry gulch Mary. How because he whips out a wad of dough to pay her. Right. And so that's what I'm thinking at this point is she's the only one that knows because of that.
Which we got to put a pin in because we'll find out if that's true or not. I can't give away things, but that was my thought at that point. She's the only one that has solid information about the money.
Maybe. Unless he just reached in and grabbed one ten dollar bill.
[00:42:18] Speaker C: Yeah.
[00:42:19] Speaker A: They don't say. He's like yeah, what do they call that? Take out all fanning out the money.
[00:42:24] Speaker C: And making it rain.
[00:42:25] Speaker A: Making it rain. He's not making it rain.
[00:42:28] Speaker C: So the cliffhanger is.
They go back to the room.
Maestro's still tied up and Nasha has magically changed into a white dress and.
[00:42:41] Speaker A: Is the most beautiful corpse you've ever seen.
[00:42:43] Speaker C: And then gross Jumping Dick's like want to marry her?
[00:42:48] Speaker A: I think it's a great cliffhanger. I love that. Like how did he tied up? How did she get in there and changed clothes.
[00:42:57] Speaker C: They're both great cliffhangers. The one four nine is a little repetitive of other. You know, Jack rushing out after Nasha when she leaps out the window. But still exciting. You want to know what happens?
Chase that guy with a beard again.
[00:43:14] Speaker A: And this is pretty typical of Morse's writing.
There's exposition, a wind up and then finally the pitch. And 7, 8, 9, 10 are we are full scale moving. If you go back a few episodes ago, there was one of the episodes just them talking, walking to town. Right. You know, now we have screaming people and laughing people and walking dogs and Jack getting hit by what you know, like that's the fun of Morse's Writing.
[00:43:43] Speaker B: This is an interesting moment too. Of like, okay, we got it now. This is a robbery.
[00:43:48] Speaker A: Yes.
[00:43:49] Speaker B: So then the question is why such an elaborate process if the robbery is going to be hit him on the head and take his money.
[00:43:58] Speaker A: Yeah.
[00:43:59] Speaker B: Which I don't think is oversight. I think that there's some compelling answers to that question.
[00:44:04] Speaker A: Depends on who did it though. Like if the maestro has nothing to do with it, then that's just a bunch of stuff he was doing.
[00:44:11] Speaker C: And someone else is just a narcissist and he's just a performer.
[00:44:15] Speaker A: Right.
But if he does have something to do with it, just using himself a lot of elaborate setup. Right.
[00:44:22] Speaker B: Yeah.
[00:44:22] Speaker A: To get the money.
Yeah. We'll find out.
[00:44:28] Speaker C: If it's jumping dick, then that might explain why he keeps trying to get his daughter together with one of the guys. He doesn't know who has the money.
[00:44:37] Speaker A: Right.
[00:44:38] Speaker C: And if he can keep luring them one after the other with his beautiful daughter, who sounds like Mercedes McCambridge.
[00:44:48] Speaker A: So far so good, right?
[00:44:50] Speaker B: Yeah.
[00:44:51] Speaker C: I'm getting a little tired.
I'm ready to wrap up.
[00:44:54] Speaker B: We're not going to do that next time.
[00:44:56] Speaker C: No, we aren't. The penultimate adventure Next time, Tim, tell him stuff.
[00:45:00] Speaker B: Please go visit ghoulishdelights.com that is the home of this podcast. You'll find other episodes there. The previous episodes of this. If you for some reason this is the first of these you've listened to, you can find out how we got here.
You can also leave comments and episodes. Voting polls let us know what you think. You'll
[email protected] find links to our store. You could buy mugs or T shirts, stuff like that with our logo. If you want to express to the world how much you love this podcast and if you want to express your love even more, you'll find a link to our Patreon page.
[00:45:35] Speaker C: Yes, we want your expressions of love and money at what's the difference?
Patreon.com themorals and become a member of the mysterious old radio listening society. We have all sorts of great bonus content there. Not content art. Nah, it's content.
Gotcha.
No, we should. It just strikes me we should have an entire podcast dedicated to us describing podcasts that didn't actually happen.
But that sound really exciting. In honor of Morse's hidden non episodes between episodes. But in lieu of that, we have other amazing bonus podcasts. We have Zoom Happy Hours.
If you contribute at a higher level, you too can be like Mark who recommended Cajoled Bribed us into presenting this podcast for you.
[00:46:37] Speaker A: It wasn't hard to cajole me. Hey. The Mysterious Old Radio Listening Society Theater Company performs live on stage audio drama, doing recreations of classic old time radio shows and a lot of our own original work. Want to see us performing live? Just go to ghoulishdelights.com and you'll see where we're performing, what we're performing, how to get tickets if you can't make it all good, because if you're a Patreon, you get the audio of those recordings. So you're getting like bonus old time radio shows just for being a Patreon.
Coming up next, we're going to be heading into episodes 11 and 12 of Bury your Dead Arizona from I Love a Mystery.
Until then, out Super Stoned where the Doritos Marry.
