Episode 390: Bury Your Dead, Arizona, Parts 11 and 12

[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 Radio. I'm Eric. [00:00:35] Speaker B: I'm Tim. [00:00:36] Speaker C: And I'm Joshua. This week we continue our seven part presentation of Bury your Dead, Arizona from I Love A Mystery. [00:00:45] Speaker A: Created by legendary radio writer Carlton E. Morse, I Love A Mystery ran on NBC from 1939 to 1944. It 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 11 and 12 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. [00:01:49] Speaker D: The Mutual Broadcasting System presents I Love the Mystery. [00:02:01] Speaker E: Sam. [00:02:34] Speaker D: A new Carlton Morse adventure thriller. [00:02:45] Speaker F: Sleep well, Gnasher. Sleep well. [00:02:49] Speaker G: Well, that's that. [00:02:50] Speaker H: There's one thing I don't understand. Jumping Dick. [00:02:53] Speaker I: There's a lot of things I don't get myself. [00:02:56] Speaker H: No, I mean, there's a lot of violent deaths and quick burials going on around here without much regard for law. [00:03:02] Speaker I: Law don't get out this way much. [00:03:04] Speaker H: Well, in my opinion, it should. [00:03:05] Speaker I: How can it? Ain't no roads in here. [00:03:08] Speaker H: No roads at all. [00:03:09] Speaker I: Reckon the closest road's 40 miles over that way somewhere. [00:03:13] Speaker H: That's great. [00:03:14] Speaker I: Ain't no telephones, you know. Only thing we got is railroad up yonder half mile. And trains scoop by us like scared rabbits. [00:03:23] Speaker H: I know. By the way, why was that boxcar shut it off on the siding up there? [00:03:26] Speaker I: One you fellas come in? [00:03:28] Speaker H: Yes. [00:03:28] Speaker I: One of the wheels froze on it. [00:03:30] Speaker H: You mean they backed it onto the siding because it was out of order? [00:03:32] Speaker I: Yeah, wheel froze. [00:03:34] Speaker H: But why is the siding out there? Isn't there any industry that has use for it? [00:03:37] Speaker I: There used to be a mine back on the desert. It's shut down now. [00:03:40] Speaker H: I see. [00:03:40] Speaker G: Jack, Lori here is just telling me and Reggie something interesting. Well, go on, Laurie. Tell Jack. [00:03:46] Speaker E: Well, it's about the money belt you lost last night. [00:03:49] Speaker H: I didn't lose it. Someone slugged me and Stole it. [00:03:51] Speaker E: Yes, I know, but life's not sorry. What? [00:03:56] Speaker I: You be careful what you say. [00:03:58] Speaker E: Oh, but father. [00:03:59] Speaker I: Ain't good going around shooting off your mouth in these parts. [00:04:03] Speaker H: You're the one who's talking too much, Jumping Dick. [00:04:05] Speaker I: All I'm saying. [00:04:05] Speaker H: Well, don't. Now, what were you going to say? Laura? [00:04:08] Speaker F: Yes, I'd. I'd like to hear it too. [00:04:11] Speaker G: Oh, you would, huh? [00:04:12] Speaker H: You want to repeat it in front of the maestro? [00:04:14] Speaker E: Oh, yes, I think so. [00:04:16] Speaker H: Then go ahead. [00:04:17] Speaker E: Well, last night, about five minutes before I stumbled over you when you were unconscious, I saw someone sneaking along through the greasewood in the moonlight. [00:04:29] Speaker H: Can you describe him? [00:04:31] Speaker E: I don't think so. [00:04:32] Speaker H: Well, you know everyone and bury you dead. Could it have been one of them? [00:04:36] Speaker E: Well, I. I thought it was a girl. [00:04:39] Speaker H: But you're the only girl in this place. [00:04:40] Speaker G: Except Nasha. [00:04:41] Speaker H: Nasha was dead then. [00:04:42] Speaker G: Well, I say, how about our landlady, Dry Gulch Mary? [00:04:45] Speaker E: No, it wasn't Mary. I'd know Mary any place, even if it was pitch black. [00:04:47] Speaker I: And it wasn't. [00:04:49] Speaker E: It was moonlight. [00:04:50] Speaker H: You're sure it was a girl? [00:04:52] Speaker E: Oh, yeah. Yes, I am. [00:04:55] Speaker G: It just plain don't make sense, Jack. The only females in bury you dead is Dry Gulch Mary, Laurie here and nausea. Oh, she swears it wasn't Mary and now she's dead. [00:05:04] Speaker H: What makes you so sure it was a girl? [00:05:06] Speaker E: Because she was wearing a long white gown. It flowed out behind her in the breeze. And I know she was young because she was so lithe and free. She moved almost like a dancer. [00:05:16] Speaker A: Dancer? [00:05:17] Speaker G: Hey, wait a minute. Nasha was wearing a long white dress when we found her in the casket. [00:05:21] Speaker H: But Nasha was dead. [00:05:22] Speaker G: Or was she? [00:05:23] Speaker H: Oh, look here. [00:05:24] Speaker G: Hey, hey. [00:05:24] Speaker I: You don't suppose we went and buried a girl what was still alive, do you? [00:05:30] Speaker E: Oh, that's horrible. [00:05:31] Speaker H: Nasha was dead. I examined her carefully. I was looking for some kind of a trick from the maestro here. [00:05:35] Speaker F: Nasha is dead. [00:05:37] Speaker H: I know she's dead. I took particular care to find out. [00:05:40] Speaker I: But it's just like Texas here says. If it wasn't the Rusian girl the way Laurie says, then who was it? [00:05:47] Speaker G: I say, I guess it would then have to be Dry Gulch Mary. [00:05:50] Speaker I: Yeah, but Laurie says it weren't Mary. [00:05:52] Speaker G: But he'd just plain have to be. [00:05:53] Speaker E: But it wasn't. Can you picture dried up Landon, George, Mary floatin gracefully across the desert with white robes trailing behind us? [00:06:01] Speaker F: It was a manifestation. [00:06:04] Speaker I: What's that? What's that you say? [00:06:06] Speaker F: It was a manifestation. [00:06:08] Speaker I: Come again Will you, fat boy? [00:06:10] Speaker F: I turned that apparition loose upon the desert. One of the small, lovely creatures out of the mystic world beyond. [00:06:19] Speaker H: Oh, go lay down, will you? [00:06:20] Speaker I: Just a minute, now. Just a minute. That's a darn good idea. [00:06:25] Speaker F: If he can, I have done it. [00:06:27] Speaker I: I mean, say, anytime you're a mind to, you can reach into the empty air and pull out a pretty girl. [00:06:35] Speaker F: Rudely put, but that's what it amounts to. [00:06:38] Speaker I: Real live girl with flesh on her bones and hair on her head. [00:06:42] Speaker F: My dear, unimaginative little man, the girls appearing in my manifestations are perfect in every way. [00:06:52] Speaker I: You don't say. And you can do all this without the help of a couple of slugs of Mountain Dew? [00:06:58] Speaker F: I beg your pardon? [00:07:00] Speaker I: Panther sweat, wet mule apple squeezing. [00:07:03] Speaker F: I do not follow you, maestro. [00:07:05] Speaker G: What Jumping Dick means is can you pull pretty women out of your sleeve when you're sober, or do you have to have a skin full? [00:07:11] Speaker F: I never touch intoxicating liquors. [00:07:14] Speaker I: Well, call me Cecil. Say, maestro, how about you and me getting together some evening and having a party, huh? Sorry, Laurie. Sorry. Slip of the tongue. Forgot she was hanging around. [00:07:28] Speaker E: Father, you don't believe what this man is saying? [00:07:30] Speaker I: No, no. Matter of fact, I don't. But I'm hoping. [00:07:34] Speaker H: Well, you're hoping in vain, Dick. [00:07:36] Speaker I: Now, don't go saying that. [00:07:38] Speaker A: Well, you are. [00:07:38] Speaker H: Mysore's full of wind. A big, noisy wind, that's all. [00:07:42] Speaker F: The day will come, Packard, when you will rue those words. [00:07:46] Speaker H: Maybe. [00:07:46] Speaker G: But, Jack, we still haven't got an explanation about what Laurie seen. [00:07:50] Speaker H: If it wasn't Mary and Nasha was dead. There are two possible explanations. Either Laura was mistaken in what she saw. [00:07:56] Speaker E: You can rule that out. I was not mistaken. [00:07:58] Speaker H: Or else there's another woman in bury your dead we don't know about. [00:08:01] Speaker E: Hmm. [00:08:01] Speaker I: Living in a jackrabbit hole, I suppose. [00:08:03] Speaker G: Yeah, that sounds pretty silly. [00:08:05] Speaker H: Well, at least they're reasonable explanations. Which are more than the maestro has to offer. [00:08:08] Speaker F: I have had enough of this meaningless prattle. I wish to be left in peace. [00:08:13] Speaker G: Oh, he wants to be alone, if you please. Well, go right ahead, fella. Out yonder is a whole day. [00:08:19] Speaker F: Will you go? [00:08:20] Speaker G: Oh, I say, Why, I wish to. [00:08:23] Speaker F: Sit here besides Nasha's grave and meditate. [00:08:28] Speaker D: Go right ahead. [00:08:29] Speaker H: We'll go back to the boarding house. Anyone going our way? [00:08:32] Speaker I: Yeah, I reckon me and Laurie will walk. Spell with him. [00:08:35] Speaker D: All right. [00:08:35] Speaker H: Come on. [00:08:39] Speaker E: What a strange, strange man. [00:08:42] Speaker G: You mean we're just leaving him here? Not keeping a guard on him? [00:08:45] Speaker D: No. [00:08:45] Speaker H: Let him alone, Jack. [00:08:46] Speaker G: What Was the reason you made us roll that big boulder down on the. [00:08:49] Speaker H: Top of Nash's grave To make sure it isn't disturbed. [00:08:52] Speaker G: What's that? [00:08:52] Speaker H: The grave and the dry sand could be tampered with without anyone being the wiser. That boulder on top of it. Now she'll rest easier. [00:08:58] Speaker E: But who would want it to open a grave? [00:09:01] Speaker H: I don't know. I just wanted to make sure. [00:09:04] Speaker I: Well, if you ask me, that was the dad gundust bury and I ever did see. [00:09:08] Speaker G: I certainly agree to that. [00:09:09] Speaker E: I don't think I'm gonna stay and bury you dead much longer. [00:09:12] Speaker I: Oh, Laurie, don't say that. [00:09:13] Speaker E: I don't belong in this place. I need to be closer to civilization. And you'd be just as happy too, for him. [00:09:20] Speaker I: Oh, no, sir. Dad, weren't it? I was born a desert rat, and by crotty, I'm gonna die a desert rat. [00:09:27] Speaker E: Carlidi. [00:09:28] Speaker C: Here. [00:09:29] Speaker E: I'm going back to the cabin. You coming, father? [00:09:32] Speaker I: No, I reckon I'll walk with the boys. Peace. [00:09:36] Speaker G: You won't. I should walk with you, Laurie. [00:09:39] Speaker E: No, thanks. Good evening, Jim Quint. [00:09:43] Speaker H: Bye. [00:09:44] Speaker G: Yeah, you know something, Jumping Dick? [00:09:46] Speaker I: What's that? [00:09:47] Speaker G: You should ought to be shot keeping a nice girl like Laurie out here in this hole. [00:09:52] Speaker I: That there is what I come along to talk to. Yeah, you had a pretty good chance at sizing Laurie up by this time, huh? [00:10:00] Speaker G: I reckon. [00:10:02] Speaker I: Well, you made up your mind. [00:10:04] Speaker G: Done what? [00:10:05] Speaker I: Made up your mind. You gonna marry the girl or ain't you? [00:10:09] Speaker G: Oh, looky now. Looky, Dick. That ain't no way to talk about that little old girl. [00:10:14] Speaker I: Ah, what you mean? [00:10:15] Speaker G: Well, Laurie's too good for a pappy to be going around trying to peddle her off. [00:10:18] Speaker I: Well, then how else is a man gonna get shad of a daughter? Tell me that. [00:10:22] Speaker H: Why are you so anxious to get rid of her? [00:10:23] Speaker I: You heard it, didn't you? You heard it with your own ears. If I don't get some man to marry her and get her out of here, she's gonna yank me out of here. [00:10:32] Speaker H: And you don't want to go. [00:10:33] Speaker I: And what's more, I ain't going. Now then, if Texas here work on her, am I? [00:10:40] Speaker G: Now, looky, Dick, I'd be. Well, I'd like mighty well do you a favor. I'd like mighty well too, but. Well, I reckon you'll have to look somewhere else. [00:10:49] Speaker I: Oh, I swear to goodness, I don't know what's more matter with young fellas these days. Ain't you got no blood in your veins? Why say when I was a young buck, I'd have rid a mule 50 miles just to get a look at anything as pretty as lorry. [00:11:01] Speaker G: Sorry, partner. [00:11:03] Speaker I: Ain't no use pressing you. [00:11:04] Speaker G: Nope. [00:11:05] Speaker I: That sure? [00:11:07] Speaker G: Final reckon so. [00:11:09] Speaker I: Well, I sure ain't got no heart to do. What am I gonna have to do then? [00:11:14] Speaker G: Hey, what you mean? [00:11:16] Speaker I: Well, if a fella can't get rid of a purty daughter one way, then he has to get rid of her in another way. [00:11:23] Speaker H: Jumping Dick, do you mean what we think you mean? [00:11:26] Speaker I: That ain't none of you fellas business. I'll be separating from you here. [00:11:31] Speaker G: Dick, you lay a hand on Laurie. [00:11:32] Speaker I: Laurie? Something I got to take care of. Yeah, something I got to take care of. [00:11:40] Speaker G: Jack, do you think? [00:11:41] Speaker H: I don't know. Sounds ridiculous. [00:11:43] Speaker G: Listen, we can't take a chance. [00:11:45] Speaker H: Haven't we ought to go warn Laura? Well, we might circle around, go over to their cabin, have a look. [00:11:49] Speaker G: Yeah, let's do that. [00:11:50] Speaker H: All right. Not too fast. Might get the idea we're following him. [00:11:54] Speaker G: Of all the crazy old buzzards. [00:11:55] Speaker H: We'll take care of him if he tries anything funny. Now, forget him for a minute. This is the first time I've had a chance to talk to you two alone since I finished the search for the money. [00:12:03] Speaker G: Be off to me. [00:12:04] Speaker H: Yes. [00:12:05] Speaker G: No luck? [00:12:05] Speaker H: Not a bit. Been through every cabin, shack and lean. [00:12:08] Speaker G: To in this place without folks knowing it. [00:12:10] Speaker H: Yes. When I finished with them, I took each of the 18 residents separately, questioned them and searched them. [00:12:15] Speaker G: Hey, you searched them. [00:12:16] Speaker H: I did. [00:12:17] Speaker G: How about Laurie and Dry Gulch Mary? [00:12:19] Speaker H: Well, I searched Mary. Had to take a gun away from her, but I didn't. [00:12:23] Speaker G: I should like to have seen that. [00:12:25] Speaker H: I didn't need to go over Laura. The kind of clothes she wears would have shown the money belt. [00:12:29] Speaker G: Then we ain't any closer to finding our $25,000 in reward money than we was. [00:12:33] Speaker H: No, I didn't expect to. I just went over the town as a matter of course. [00:12:37] Speaker G: What you mean you didn't expect to find me? [00:12:39] Speaker H: Because I've known all along who has it. [00:12:41] Speaker G: You do. Hey. Well, what are we waiting for? [00:12:44] Speaker H: Because I don't know where he's hidden. [00:12:45] Speaker G: But who are you talking about? [00:12:47] Speaker H: Well, the Maestro, naturally. [00:12:48] Speaker G: The maestros got our 25 grand, certainly. But, Jack, we were in the Maestro's room with him at the time you were out there being hit over the head. [00:12:55] Speaker H: I know it. [00:12:55] Speaker G: Well, then how? [00:12:56] Speaker H: I don't know how. All I know is that the Maestro has our money and not a little living soul. And bury her dead knows anything about it. [00:13:01] Speaker G: Well, I'm a son of a gun. You know that positively well. And we ain't gonna do anything about. [00:13:07] Speaker H: It, not just at the moment. There's no way he can get out of barrier dead with it without us knowing about it. Let him think he's pulled the wool over our eyes. Then when we're ready, we'll go for it. [00:13:16] Speaker G: Well, you're doing it. But there ain't nothing that I'd like better than to sink my fist into that fat bay window clean up to my elbow. [00:13:23] Speaker H: Quite. We're getting close to Dick's cabin. Keep time. [00:13:26] Speaker G: Yeah, there goes Dick inside now. [00:13:28] Speaker H: We're careful. We can get right up to the window. [00:13:31] Speaker F: Listen. [00:13:32] Speaker I: And I gave all three of them something to think about before I left them. [00:13:37] Speaker E: You told them that you were going to kill me? [00:13:39] Speaker I: Well, not just out and out in so many words. But they sure got the idea. [00:13:46] Speaker E: Now that the $25,000 has been stolen, what's the good of going on? [00:13:50] Speaker I: Maybe it stole and maybe it ain't. [00:13:53] Speaker E: Do you mean Jack Packard spread the word around just to throw us off the trail? [00:13:57] Speaker I: Yeah. How he knowed we was on the trail, I can't figure it out. You ain't made no breaks, have you? [00:14:04] Speaker E: No, and I think you're wrong. I think the money has been stolen. Packard searched every house in bury your dead. [00:14:12] Speaker I: He searched his cabin? [00:14:13] Speaker E: Yeah. [00:14:13] Speaker I: Why, blast his honor. [00:14:15] Speaker E: No, never mind that. If the money is gone, well, it's. [00:14:19] Speaker I: Still here and buriedad. Yes, of course it's here. Cause there ain't no way for it to get out. And if it's here, I can find it. [00:14:27] Speaker E: Have you an idea where? [00:14:28] Speaker I: You bet I got an idea. That fat man up at the Borden. [00:14:33] Speaker E: House with a maestro. [00:14:34] Speaker I: He's got it as sure as dog's got fleas. [00:14:37] Speaker E: I wonder. [00:14:38] Speaker I: You bet he's got it. But he ain't gonna have it for long. No, sir, not with Jumping Dick around. [00:14:45] Speaker G: Jack, did you hear what I did? [00:14:47] Speaker H: Come on, let's get out of here quick. I smell murder. [00:15:30] 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. Morris, comes to you Monday through Friday. Featuring Russell Thorson as Jack, Jim Bowles as Doc Long and Tony Randall as Reggie York. Frank McCarthy speaking. This program came from New York. This is the Mutual Broadcasting System. The Mutual Broadcasting System presents I Love the Mystery. [00:16:47] Speaker E: It. [00:17:21] Speaker D: A new Carlton Morse adventure thriller. [00:17:31] Speaker H: We're watching the Maestro because he's the Focal point for everything that's happened since we came to bury your dead. And everything that's going to happen. [00:17:38] Speaker E: I say. [00:17:38] Speaker G: Huh? What's the matter? Look creeping up through the greasewood over there. [00:17:42] Speaker H: Where, Roger? [00:17:42] Speaker G: Creeping toward the Maestro's window. Just a shadow in the moonlight. [00:17:45] Speaker I: Yeah, yeah. [00:17:46] Speaker G: See it, Jack? [00:17:47] Speaker C: Yes. [00:17:48] Speaker G: Down on all fours. You think it's an animal? [00:17:53] Speaker H: No, it's a man. [00:17:54] Speaker G: Quiet. I caught the glint of something in his hand. Oh, a gun, huh? [00:17:58] Speaker H: I think the Maestro's about to receive a visit from Jumping Dick. [00:18:01] Speaker G: I say, that's Jumping Dick. [00:18:02] Speaker H: That'll be my guess. [00:18:03] Speaker G: Well, what we waitin for to see what happens? Just lucky Jack. If Jumping Dick should up and shoot. [00:18:10] Speaker H: The Maestro, we'll stop him before it goes that far. [00:18:12] Speaker G: But if we ain't in time, that'll. [00:18:14] Speaker H: Be the maestro's hard luck. [00:18:15] Speaker G: Mr. Darns too, Jack. I mean, if the maestro's got our $25,000 hidden away and he's killed, we'll never see it again. [00:18:22] Speaker H: Don't forget, the Jumping Dick knows that as well as we do. [00:18:24] Speaker G: How you mean? [00:18:25] Speaker H: Well, if Dick's after the money, he won't dare kill the Maestro until he knows where it's hidden. [00:18:29] Speaker E: Yeah. [00:18:30] Speaker G: What's the matter with us? He's right under the window. Man, if the Maestro's nervous now, think what he's gonna be in a minute. [00:18:38] Speaker H: Watch. He's gonna stand up. [00:18:40] Speaker I: Yeah. [00:18:43] Speaker H: There he goes. [00:18:44] Speaker G: Hey, did you see that? The Maestro jumped afoot. [00:18:47] Speaker H: Come on, let's creak down where we can hear what they're saying. [00:18:50] Speaker G: Yeah, let's do that. Take it easy. [00:18:54] Speaker H: Not a. [00:18:57] Speaker I: And as I was saying, I hope you don't mind if I just stand here in the window and point my pistol at the middle of your barrel. [00:19:06] Speaker F: In heaven's name, ma', am, put up that gun. [00:19:09] Speaker I: Nope. Feel more comfortable with it in my hand. [00:19:13] Speaker F: Is this a hold up? [00:19:14] Speaker I: Yeah, in a way, you might say it was. [00:19:17] Speaker F: But I have nothing you could want. [00:19:18] Speaker I: Oh, don't think so, huh? [00:19:20] Speaker F: But I haven't. I arrived here absolutely destitute. Packard had to pay my room and board. [00:19:26] Speaker I: Destitute, huh? [00:19:27] Speaker F: Positively Emmanuel. You're barking up the wrong tree. [00:19:31] Speaker I: Ever. [00:19:31] Speaker E: Here. [00:19:32] Speaker I: 25,000 good round United States dollars. [00:19:37] Speaker F: $25,000? [00:19:40] Speaker I: That's what I said. 25,000 of them. [00:19:43] Speaker F: That's. That's fantastic. [00:19:46] Speaker I: Yeah, it is kinda. You think a fellow as smart as Packard would have more sense than to carry that much spondulics around his waist, Wouldn't you? [00:19:55] Speaker F: Packard was carrying $25,000. [00:19:59] Speaker I: Was? Is right. [00:20:00] Speaker F: How did you know? [00:20:02] Speaker I: Dry Gulch. Mary listens at keyholes. And what Mary knows, the whole town of Bury your dead knows. [00:20:09] Speaker F: So, yeah. Now you think I have the money. [00:20:14] Speaker I: I know you got it. [00:20:15] Speaker F: That is an insult. [00:20:17] Speaker I: Why? You having money is an insult. [00:20:19] Speaker F: You are branding me a thief. [00:20:21] Speaker I: Well, if you are a thief, what's the hurt of branding? You have won. [00:20:25] Speaker F: That's ridiculous. I never stole anything in my life. [00:20:29] Speaker I: Oh, come on. Come on. Is that $25,000 more important to you than your life? [00:20:36] Speaker F: You. [00:20:37] Speaker I: You'd kill me like I did kill a fly. [00:20:41] Speaker F: Wait, wait. I've got to think. [00:20:44] Speaker I: You got to think? [00:20:45] Speaker E: Yes. [00:20:46] Speaker F: Yes. Gnasher. Gnasher, come quickly. [00:20:52] Speaker I: Hey, what the tarnation is that for? [00:20:55] Speaker F: Gnasher. [00:20:55] Speaker I: Oh, what's eating you? That Roostan girl's dead and buried. [00:20:59] Speaker F: Gnasher, come back. [00:21:01] Speaker I: Now look here, you big fat tub of hogs. [00:21:04] Speaker E: There. [00:21:05] Speaker I: If you think you can scare Jumping Dick off with a lot of truck about, dead folks are coming back. [00:21:10] Speaker F: She's coming. She's coming. [00:21:13] Speaker I: They do. She is. [00:21:14] Speaker F: Nasha is coming. Nasha is coming back to this earth. [00:21:22] Speaker H: There's no use. We can't get any closer than this. [00:21:26] Speaker G: But, Jack, we can't hear nothing here. [00:21:27] Speaker H: But we're close enough to see everything that goes on. [00:21:31] Speaker G: Queer Maestro's standing there with his eyes closed. [00:21:35] Speaker H: If Dick's smart, he'll watch out. [00:21:37] Speaker G: Dick's got the drop on him. [00:21:38] Speaker H: And the Maestro's cooking up something. Don't forget he's a smart magician. [00:21:42] Speaker G: I say, Dick doesn't seem to be as sure of himself. Yeah, look at him, wiping his face with his handkerchief. You suppose he's losing his nerve? [00:21:50] Speaker H: Dick doesn't. Hold it. [00:21:51] Speaker I: What? [00:21:53] Speaker H: Look what's coming through the moonlight. [00:21:54] Speaker G: What do you say? Hey, it's a girl in a white dress. The girl in the white dress. The girl Dick's daughter saw last night. Hey, maybe it's Laurie herself. [00:22:03] Speaker H: No, she's too small. Doesn't she remind you of someone? [00:22:08] Speaker G: She's too far away. [00:22:09] Speaker H: That lithe movement, floating rhythm. [00:22:13] Speaker G: That's a dancer, Jack, not Gnasher. [00:22:16] Speaker H: Isn't that who she reminds you of? [00:22:18] Speaker G: But that's crazy. We help bury Nasha, our sister. Five o' clock this afternoon. [00:22:24] Speaker H: You don't have to tell me that. [00:22:25] Speaker G: And you said yourself she was dead. [00:22:26] Speaker H: I know it. And I still say that looks like Nasha. [00:22:30] Speaker G: And you're the fellow that don't believe in ghosts. [00:22:32] Speaker H: Watch it. She's coming up behind Dick at the window. [00:22:36] Speaker G: Hey, hadn't we oughta warn him keep still. [00:22:39] Speaker H: Just watch. [00:22:40] Speaker G: But if a doggone phantom was a creeping up behind me. Look, she's standing right behind him with her arm raised. [00:22:49] Speaker E: Jack, did you see that? [00:22:50] Speaker G: Dick went down like he'd been struck by lightning. All she done was lower her arm and he just crumbled up. [00:22:56] Speaker H: Look. [00:22:57] Speaker E: Look at her go. [00:22:58] Speaker G: Just a floating away in the moonlight. Jack, shouldn't we go after her? [00:23:02] Speaker H: Do you think you could catch that out there in the desert at night? [00:23:04] Speaker G: Yeah, that's one thing I ain't gonna do, chase ghosts. [00:23:08] Speaker H: Oh, come on, let's go down. [00:23:10] Speaker G: Yeah, look at the maestro leaning out the window looking down at Dick's body. [00:23:15] Speaker H: Keep quiet until we get right up to the window. Well, my soul. [00:23:22] Speaker F: What's that? [00:23:23] Speaker H: It was the best performance you've given us yet. [00:23:25] Speaker F: Oh, you saw. You were watching. [00:23:29] Speaker H: Yes. [00:23:30] Speaker F: Then you witnessed the return of Nasha. Is. [00:23:34] Speaker H: Is that what we saw? [00:23:35] Speaker F: You saw the resurrection of Nasha from the grave. [00:23:39] Speaker G: You can say that, dog. Gondest things that ever come out of a man's mouth. [00:23:43] Speaker H: Yeah. Give me your flashlight, Doc. Let's have a look at Dick. [00:23:45] Speaker G: Yeah, but where did she go? And why did she run away? [00:23:48] Speaker F: Run? The spirit of man has no need for legs. [00:23:52] Speaker G: You still haven't said where she went. [00:23:53] Speaker F: Back to the grave from when she came. [00:23:55] Speaker G: Will you stop talking like that? [00:23:58] Speaker F: Back to the grave. [00:23:59] Speaker H: Here doc, give me a hand. [00:24:01] Speaker G: Is he dead? [00:24:02] Speaker H: No, but he has a good sized goose egg on his head. [00:24:04] Speaker G: Goose hand? [00:24:05] Speaker H: Yes. [00:24:06] Speaker G: You was clubbed over the head, Jack, we didn't see any club in her hand. She just raised her arm and lowered it. [00:24:11] Speaker H: We saw her arm because it was white. The club was probably a piece of dark wood that wouldn't show. [00:24:15] Speaker G: Yes, but if she needed a club. [00:24:16] Speaker H: Exactly. If she needed a club, she wasn't a phantom. [00:24:20] Speaker F: You're a stiff necked man, packer. [00:24:22] Speaker H: Maybe, but that wasn't any ghost that hit Dick over the head. It was a flesh and blood girl. [00:24:27] Speaker G: But Jack, there ain't no flesh and blood girls in bury your dead. Except in Laurie. And you said yourself it wasn't her. Besides, Laurie wouldn't sneak up behind her own father and bop him on the cranium. [00:24:39] Speaker H: No, it wasn't Laura. [00:24:40] Speaker G: Then who the heck was it? [00:24:41] Speaker H: I don't know. [00:24:42] Speaker F: It was the spirit of Nasha. She came back to protect me. [00:24:47] Speaker H: Protect you from what? [00:24:48] Speaker F: From that man who threatened me with a gun. [00:24:51] Speaker H: Why did he threaten you? [00:24:53] Speaker F: He said it was a hold up. [00:24:55] Speaker H: Jumping Dick was holding you up? [00:24:57] Speaker F: So he said. [00:24:58] Speaker H: But what did he want? [00:25:00] Speaker F: I Told him I was destitute, but he refused to believe me. [00:25:05] Speaker H: I see. [00:25:05] Speaker F: He said he would kill me as quickly as he'd kill a fly. I was in desperate circumstances, so I called on Nasha. And she came. [00:25:15] Speaker G: Well, somebody sure enough came. [00:25:17] Speaker F: All right. [00:25:17] Speaker C: Jack. [00:25:17] Speaker G: I don't like what's going on. I wish we could. [00:25:20] Speaker E: Hey. [00:25:23] Speaker H: That'S Laura. [00:25:24] Speaker A: Here. Here we are. [00:25:25] Speaker B: Wait for me. Wait for me. [00:25:26] Speaker G: Fairly frightened. [00:25:27] Speaker A: Here. [00:25:29] Speaker I: Here. Do you see us? [00:25:29] Speaker B: Yes. [00:25:31] Speaker G: What? [00:25:31] Speaker E: The most terrible thing. I just saw the most terrible catcher. [00:25:34] Speaker H: Catch her. [00:25:34] Speaker I: Ready? [00:25:35] Speaker A: Right. [00:25:35] Speaker E: No, I'm all right. I'm just so frightened. [00:25:37] Speaker H: Here, just let her sit down. [00:25:41] Speaker E: What's that on the ground? [00:25:42] Speaker H: Your. Your father. [00:25:43] Speaker E: Oh, no. [00:25:44] Speaker H: Oh, he's all right. Just a bump on the head. [00:25:46] Speaker E: Are you sure? [00:25:47] Speaker H: Sure. Now what's the matter? [00:25:49] Speaker A: What's on going? [00:25:51] Speaker E: You won't believe me. [00:25:52] Speaker H: Tell us and see. [00:25:53] Speaker E: I was coming up the trail from our cabin to the boarding house. I came face to face with Nasha. [00:26:00] Speaker G: Hey, you saw her? [00:26:01] Speaker E: Yes. She was the girl in the white flowing robes. The girl I saw last night. [00:26:05] Speaker H: How close were you? [00:26:06] Speaker E: So close I could have reached out and touched it. [00:26:08] Speaker H: You saw her face? [00:26:09] Speaker E: Yes, it was Nasha. Now will you believe what you say? [00:26:15] Speaker H: It was someone in a white dress that hit your father over the head. The maestro's been trying to tell us it was nausea. [00:26:20] Speaker B: Yes. [00:26:20] Speaker E: Yes, I saw her. [00:26:21] Speaker H: Well, what happened after you saw her? [00:26:23] Speaker E: She. She just vanished off into the moonlight. I was so frightened. I thought I'd lost my sense. [00:26:28] Speaker I: Joe. [00:26:29] Speaker G: Jack, there. There's no answer to that. [00:26:30] Speaker F: The ways of the mystic are beyond comprehension. [00:26:34] Speaker G: Jack, when do you reckon the next freight train will be coming through? [00:26:37] Speaker H: Don't be a fool, dad. [00:26:38] Speaker G: Well, I'm a fool. Cause I don't want to go mucking around a dead folk. [00:26:41] Speaker H: You're a fool because you believe there are any dead folks. [00:26:44] Speaker G: Well, all right then. Go on, explain things to me. [00:26:47] Speaker H: I can't. [00:26:48] Speaker G: And neither can I nor nobody else except a maestro here. [00:26:52] Speaker F: Now you are talking reason. [00:26:54] Speaker H: Dead people don't rise from the grave. [00:26:55] Speaker G: But we seen her. And Laurie seen her. [00:26:57] Speaker H: Dead people don't rise from the grave. [00:27:00] Speaker F: You can prove that, Packard? [00:27:02] Speaker H: I can and I'm going to. [00:27:04] Speaker F: I would give much to be present when you do it. [00:27:06] Speaker H: How and when? When I do, it'll be none of your affair. Come on, let's get out of here. [00:27:11] Speaker G: Are we going to just leave Jumping Dick laying there? [00:27:13] Speaker H: His daughter and the maestro are with him. [00:27:15] Speaker G: I think, as I say, a bit inhuman. [00:27:16] Speaker H: What? We've got other things to do. Come on. [00:27:20] Speaker G: I know what we got to do. That's all fired important. [00:27:24] Speaker H: Prove the girl who struck down Dick wasn't national. [00:27:27] Speaker G: Yeah, but how? [00:27:29] Speaker H: Reggie, you know where those shovels are? [00:27:32] Speaker G: I say shovels. [00:27:33] Speaker H: Yes. We're going to open Nash's grave and prove. [00:27:36] Speaker I: Prove what? [00:27:38] Speaker H: I don't know. What do grave robbers prove? [00:28:23] Speaker D: The further transcribed adventures of Jack, Duck and Reggie will come to you tomorrow at the 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. [00:29:06] Speaker A: That was episode 11 and 12 of Bury youy Dead, Arizona from I Love a Mystery here on the mysterious old Radio Listening Society podcast once again, I'm Eric. [00:29:17] Speaker B: I'm Tim. [00:29:18] Speaker C: And I'm Joshua. [00:29:19] Speaker A: So we continue in this seven part series of a 15 part serial. So a serial within a cereal. [00:29:29] Speaker C: Wow. [00:29:29] Speaker A: I know. I'm deep, man. I am deep. [00:29:31] Speaker C: Russian dolls voiced by Mercedes McCambridge. [00:29:37] Speaker B: It's like playing tricks in your Froot. [00:29:39] Speaker A: Loops because it gets muddy. Right. I think it's good for us to recap and then comment. So first thing is we discover there are no cops in this town, right? [00:29:52] Speaker C: Yes. A shocking revelation. [00:29:56] Speaker B: Ever since Alky Joe died, there's no law. [00:30:01] Speaker A: So. And. But it is interesting. The reveal here is the nearest road is 40 miles away. Yeah, there's no roads. They are walking on sand. Things are just built on sand. There's. And then a half a mile away is the train track that has a track that goes off for some reason. [00:30:23] Speaker C: No. They say why? And we're in serious Scooby Doo territory here. Because there used to be a mine here, right? [00:30:30] Speaker A: That's right. [00:30:31] Speaker C: That's what likely caused Bury youy Dead to spring up in the first place way out here. And we also find out the very important information that the wheel on the boxcar froze and they had to leave it. [00:30:46] Speaker A: That is a great piece of information to have, like why they ended up stuck there. [00:30:53] Speaker C: It retroactively justifies Jack's notion that there's no way that Maestro could have known they would be left here. But it would have been great if that clue came before Jack made that deduction because there was no evidence. [00:31:09] Speaker A: But the new, the new information that we get is from that is, oh, there's another train coming to either pick that up, fix it, or the regularly scheduled train is coming. So we know that there is a way out now, not so much a clue, but it is a clue that we're heading toward an ending. [00:31:32] Speaker C: Yeah. [00:31:32] Speaker B: There is a clock ticking somewhere. [00:31:34] Speaker A: Yes. Yes. So then what? [00:31:37] Speaker C: Well, we get Jumping Dick's best line of the entire serial when it says, come again, will you, Fat Man. [00:31:45] Speaker B: Right. [00:31:45] Speaker A: Is that the one where Reggie laughs? [00:31:47] Speaker C: It might be. [00:31:48] Speaker A: I think that was the one. A few episodes ago, I mentioned that there was some line by Jumping Dick and Reggie York. Or I should say Felix Unger. No. What's his. Tony Randall. [00:31:59] Speaker C: Yeah, geez. [00:32:00] Speaker A: I get him juxtaposed. Tony Randall laughs at that. And it's either a. A brilliant piece of direction and writing. I love that he's just finding in a very tense moment that he just laughs at that, or is Tony Randall just laughing at the actor calling him fat man? [00:32:19] Speaker C: Definitely T shirt material. [00:32:21] Speaker A: Right. It's another one he can't wear. [00:32:24] Speaker C: No, no. [00:32:24] Speaker A: Should I stick a knife in him, Fat Man? [00:32:27] Speaker C: Come again, will you, fat boy? And Laurie mentions seeing this mysterious woman in a white dress in the desert out there in the grease bush or whatever it's called. The greasewood. Greasewood. And we find out that the Maestro just claims that was an apparition I summoned. And then we get this great bit where somehow, like, Jumping Dick just thinks the Maestro is a supernatural pimp because he's like, you can just call these beautiful women out of the. Out of the netherworld. [00:33:00] Speaker A: And, yeah, he just goes on and on. So let me get this straight. [00:33:03] Speaker C: Yeah. [00:33:03] Speaker A: Finally, his daughter say, okay, it's getting weird, dad. [00:33:06] Speaker C: This is gross. [00:33:07] Speaker B: Right. In the same sort of a game of, like, who's really representing themselves? Because it seems like a lot of these characters are lying. Of Laurie, very specifically. The person I saw was definitely a woman. Definitely young. Right. [00:33:25] Speaker C: And there's some implications, some adjectives that have been used previously to describe Nasha and to describe a dancer. [00:33:32] Speaker B: Yes. [00:33:33] Speaker C: I can't remember if it's lithe or. [00:33:34] Speaker B: And they did the answer, like, well, Laurie probably didn't see herself on white dress. Nash is dead. [00:33:40] Speaker A: It wasn't Dry Gulch Mary. [00:33:41] Speaker B: Not Dry Gulch Mary. And that's all the ladies. [00:33:44] Speaker A: Right. Did anybody else. It was evocative to me of Lucy from Dracula. [00:33:51] Speaker C: Yeah. It made me think of that also the woman in White. Wilkie Collins. It's a famous novel. We read it in book club for the mysterious old book club, if you become a patron. [00:34:06] Speaker A: But yeah, I like that imagery because just like the imagery from Dracula of Lucy and white and walking mysteriously in the dark and blue for Lady Right. This also was very scary. Right. Like, wispy, long trail dress. Also, I just realized. Don't. Don't look up the word grease bush. [00:34:34] Speaker C: Come again, will you? [00:34:35] Speaker B: Fatboy.com. [00:34:43] Speaker A: So, yeah, it's. It's. It. The. In typical Morse fashion, we're not getting answers. We're getting more questions. Right. [00:34:53] Speaker F: Yeah. [00:34:53] Speaker C: And then we have that dark turn where the comic relief of Jumping Dick always trying to marry off his daughter turns dark. [00:35:02] Speaker B: Right. [00:35:03] Speaker C: Where he says something along the lines, well, if I can't marry her off, maybe I'll kill her off. Essentially, they're like, we should do a wellness check on Laurie. [00:35:14] Speaker A: So it's a we. Okay. So it's kind of a problematic thing that has been written here. Why is he telling them to. That he might hurt her and then go, yeah, none of your damn business. I'm going to go take care of that. Because then he ends up having a conversation with her that reveals a lot. [00:35:35] Speaker C: But he wouldn't want to lure them. [00:35:37] Speaker A: He lures them with that. [00:35:39] Speaker C: You know, I'm going to go on a limb and say Jumping Dick is not a very intelligent man. [00:35:45] Speaker B: Yeah, right. [00:35:47] Speaker C: It might have been him losing his temper or just getting frustrated, but still, like, what is the whole marrying thing to begin with? [00:35:53] Speaker B: It's explicit that he knows they have $25,000. And I think what he's trying to do is like, hey, you can have my daughter for a dowry of $25,000. And if you still going for it, like, well, I'll kill her. So maybe you really should. [00:36:11] Speaker C: Yes, maybe that makes sense. [00:36:13] Speaker A: I'm gonna go with that because I need any context. [00:36:15] Speaker B: Yeah. He's not a great tactician, but I think that's the logic of it. [00:36:19] Speaker A: There's gotta be something, because he's all in on this. [00:36:21] Speaker B: You marry my daughter. [00:36:22] Speaker A: He inadvertently lures them there to give them information he doesn't want them to have. [00:36:29] Speaker C: He really should be called marry my daughter Dick. [00:36:32] Speaker A: Right. Or could someone please create a woman out of thin air for me? Dick, the silence in here is people not wanting to say the jokes that are in their head. [00:36:49] Speaker B: And somewhere near, we get the backstory of Jack, like, and I searched the town. [00:36:54] Speaker A: Yeah, yeah, yeah. [00:36:55] Speaker C: And I didn't just search every shack. I interrogated all 18 surviving citizens. [00:37:03] Speaker A: And did the contract for the woman playing Dry Gulch Mary run out? Like, now she's no longer in this at all. But we. [00:37:12] Speaker C: Yeah. Was that Mercedes. And I didn't recognize her. Now I'm. [00:37:16] Speaker A: Now I'm suspicious of that because that Woman is in the first two. Two episodes, tops. Right. And then she's gone. But then Jack not only interrogates her, has to disarm her and search her, and she's really angry about it. [00:37:33] Speaker B: Pointedly did not question Laurie because of her clothing, which could not possibly hide a money belt again. [00:37:43] Speaker C: Yeah. Paint pictures for the teenage boys listening and their dad. [00:37:48] Speaker B: Crop top and yoga pants. [00:37:49] Speaker C: Yeah. [00:37:50] Speaker B: Right. [00:37:51] Speaker A: Saran Wrap. [00:37:56] Speaker C: So Lemon ends how they are listening and find out that they are in cahoots. Jumpin Dick and Laurie. And they know about the money, and they're trying to figure out who stole it. [00:38:08] Speaker B: The theory that maybe it wasn't really stolen. Maybe this was a story to lure them out, which is a fun sort of. Someone else is writing the Jumpin Dick and Laurie story. [00:38:18] Speaker C: Yeah. And they suspect that Maestro has it. And that whole conversation is to sort of get them off the hook and to point us toward. Well, I mean, they are literally the only other characters. So if they don't have the money, unless they are just putting on a show and know that Jack, Doc, and Reggie are outside the window, it points us back 100% at the Maestro. [00:38:44] Speaker A: Let me take a giant leap that I don't think was intended, but let me back. Right. He lures them there on purpose to. So that they can hear that. On purpose. [00:38:52] Speaker C: Yeah. Yeah. That is a giant leap. We call it a Dick jump. [00:38:59] Speaker A: But. Right. [00:39:00] Speaker C: Mm. And then we move somewhat smoothly into part 12, and they are just on spying duty right now. So they then watch Jumping Dick go to the maestro's window and point a gun at him. Yeah. And watch some strange interaction. Then this figure in white appears and raises her arm, and Jumpin Dick falls. And then they find out, of course, that it wasn't anything supernatural. This figure clubbed him. Why would a phantom need a club? [00:39:36] Speaker A: Well, that's their. They suppose. Well, we couldn't see the dark object, and we could just see the white. I'm gonna point out something that happens in everything 1970 and before. People getting hit in the head being no big deal and knocked unconscious. The damage that they can do and the amount of times. Let's just take Jack Packard. In all the years that Morse wrote these, Jack Packard has been hit on the head and knocked out 7,000 times. [00:40:12] Speaker C: I mean, his head is just oatmeal. It is this mushy, scarred lump. [00:40:17] Speaker A: Lori comes up. Oh, that's your dad laying there. He's okay. He's just been knocked out with a giant piece of wood in the head. They make it sound so Easy to get through. [00:40:31] Speaker B: Like you got an on off switch in the back of your head, right? [00:40:35] Speaker C: Yeah. [00:40:36] Speaker A: Not only the pain, but the damage that can do. But think about all the movies where they pistol whip the guy in the back. [00:40:42] Speaker C: Oh, yeah. You just. [00:40:43] Speaker A: And then you get up and you go, no, man, that really does a lot of damage getting knocked out, like. And plus, most of the time you hit someone, you're not knocking them out. Like you said, it's this device in storytelling for a long time that there's like an on off switch on the back, like a Vulcan death grip on the back of your neck. [00:41:07] Speaker B: There is a thing of like, not death grip. [00:41:09] Speaker A: Sorry. [00:41:09] Speaker H: Nerve pinch. [00:41:10] Speaker A: Thank you. I don't want the nerds calling me. Here's my phone. [00:41:15] Speaker C: They're in the room. Right. [00:41:18] Speaker B: But there is a thing of being. [00:41:19] Speaker C: Knocked out from inside. [00:41:22] Speaker B: It's more based on just having your head whipped one direction too fast. [00:41:27] Speaker C: It. [00:41:27] Speaker B: Being knocked out is a real thing in a way that isn't. Like, that's going to be a lot of brain damage. [00:41:32] Speaker A: Right. [00:41:32] Speaker B: But it's not getting on. Hitting back of the head with a pistol or a SAP or like, that's breaking your skull. [00:41:39] Speaker C: Yeah. [00:41:40] Speaker A: Don't get me wrong, I think you'd probably get knocked in the back of the head and knocked out and be okay. But oh my God. The odds of it not being damaging are pretty low. [00:41:51] Speaker C: It would be great if there were a serial where the hero is knocked on the head, unconscious early in the run. And he comes to and he is just talks gibberish, nonsense, walks around in circles. It's basically an episode of Columbo. [00:42:09] Speaker A: Or he knows French. [00:42:10] Speaker C: Yes. [00:42:11] Speaker A: Out of the blue, can play the piano really well. So then what happens? [00:42:17] Speaker C: Basically Jack's like, I'm done with all this BS. We're gonna go exhume Mercedes McCambridge. Yeah. [00:42:23] Speaker A: Safari. Right. Which they have now told us that they have buried her. [00:42:29] Speaker C: Yeah. [00:42:29] Speaker A: More stuff we've missed. And put a giant rock on top of it to make sure that she cannot get out or no one can. [00:42:37] Speaker C: It's like the tomb of Christ. [00:42:39] Speaker A: Right. [00:42:40] Speaker B: I think the intent was more than if anyone's going to go mess with it. And like. [00:42:43] Speaker A: Right. Nothing can happen to the coffin. It can't be disturbed in any way now. [00:42:48] Speaker B: And it's also, I. I think what seemed a little clearer to me how obviously that that's the place to go hide the money. Like whoever hid the money, that's the place to hide it. [00:43:01] Speaker A: Well, considering we now know that they've looked under every single shack, by the way. Lean Tos. There's some people that live in Lean Tos in this town, which was pointed out a few episodes ago. Lean to. [00:43:12] Speaker B: Oh, to have a shack. [00:43:14] Speaker A: Right. Yeah. There's nowhere else for it to be. There's nowhere to hide. This. This ends with them starting to dig. Is that correct? [00:43:24] Speaker C: They're heading toward the grave. [00:43:25] Speaker A: Yeah. [00:43:26] Speaker C: Okay, don't spoil it for everybody. [00:43:29] Speaker B: The exciting digging action of episode 13 with Morse. [00:43:33] Speaker C: It could be episode 15 before they actually get to the grave. It could be three more monologues from Jumping Dead. [00:43:42] Speaker A: So overall, though, again, we are at that point where we're just getting more and more convoluted. [00:43:50] Speaker C: Yeah. And our cliffhangers are less actional and more expositional. Like they're eavesdropping cliffhangers. [00:43:59] Speaker B: But our narrative lines are collapsing into each other. [00:44:02] Speaker A: We're starting to get some information. We have eliminated Lori and Jumping Dick. Right. We've eliminated them because even though we know they want the money, we know that they don't have it. And they're as confused as everybody else about everything. [00:44:17] Speaker C: And Jack has strip searched Dry Gulch Mary. [00:44:22] Speaker A: So, yeah, we have 13, 14, and 15 coming up next, where everything we find out, everything. [00:44:29] Speaker C: That is what we hope. [00:44:31] Speaker A: And what's fascinating is, much like all of Morse's writing, you get to this point, like you have a very small amount of time to wrap all this up. [00:44:42] Speaker C: Yeah. And usually he wastes a lot of it. How can you possibly do that in three episodes? Oh, you threw away two of them. Wow. [00:44:50] Speaker B: Okay. [00:44:54] Speaker A: All right, Tim, tell him stuff, please. [00:44:55] Speaker B: Go visit ghoulishdelights.com that's the home of this podcast. You'll find other episodes there. You can leave comments for us about what you think about these episodes. You can vote in polls, make your opinion heard, demand that we know what you think. [00:45:10] Speaker A: Demand it. [00:45:11] Speaker B: You'll also find links to our store if you want to buy a T shirt or a tote bag with our logo on it. We got a great logo. We got great tote bags. They go together great. And you'll also find a link to our Patreon page. [00:45:24] Speaker C: How much do we make off these tote bags? You really buy most of them? I love them. [00:45:33] Speaker A: This is one of the critics in town here has one. Oh, yeah, he walks. Rob rocks around with a morals tote bag. [00:45:41] Speaker C: Yeah. So if you have any money left over after buying our crazy expensive tote bag, you can go to patreon.com themorals. [00:45:52] Speaker A: We are terrible at this we really are just terrible at this part of this. [00:45:58] Speaker C: Now, if you become a member, we have a lot of great perks. None of them are bags you can put stuff in, but they are podcasts. They are zoom happy hours. It's discord to hang out with us and with other admirers of the podcast. So please, money does really help us. Tim needs to buy more tote bags. They're not just gonna buy themselves. [00:46:24] Speaker B: I mean, how am I gonna carry these tote bags around when I travel? I need to get something to put them in. [00:46:28] Speaker C: Yes, we're gonna take all your money and put them in tote bags. [00:46:35] Speaker A: We are idiots. [00:46:37] Speaker F: Hey. [00:46:37] Speaker A: The mysterious old Radio Listening Society theater company performs live on stage audio dramas as we do recreations of classic old time radio shows and a lot of our own original work. We've been at it for 10 years. You want to see us? Come perform. Well, we're always somewhere, so just go to ghoulishdelights.com and there you will see where we're performing, what we're performing, and how to get tickets. Ghoulishdelights.com can't make it become a Patreon because the audio of those live performances is made available to our Patreons. So, yeah, do that. Well, we're heading to the barn, everybody. [00:47:17] Speaker C: This is it. [00:47:18] Speaker A: 13, 14, 15 of bury your dead, Arizona from I love a Mystery is coming up next. Until then, look out. [00:47:28] Speaker C: And Jack has strip searched Dry Gulch. Mary. [00:47:34] Speaker A: Talk a little louder. That's where he found out why she's called Dry Gulch. [00:47:41] Speaker B: This is your reward for sticking with us for six out of seven episodes. Sorry you weren't going to stick around for the seventh one.