[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.
[00:00:36] Speaker C: And I'm Joshua. This week we conclude 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.
[00:01:07] 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.
[00:01:19] Speaker C: And now settle in for parts 13, 14 and 15 of Bury youy Dead Arizona from I Love A Mystery, originally broadcast in 1949.
[00:01:32] 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.
[00:02:00] Speaker E: It.
[00:02:36] Speaker D: A new Carlton Morse adventure thriller.
[00:02:48] Speaker F: All right, put the shovels down.
The first thing we've got to do is get that ton of stone off.
[00:02:53] Speaker G: The top of the grave we're sailing. Don't that hunk of rock right on top of the grave just about prove Nasha ain't been tampered with?
[00:03:00] Speaker F: Quite. It hasn't been moved, Jack. So the grave hasn't been opened.
[00:03:02] Speaker G: And if a grave hasn't been opened, Gnasher's still in there. I thought you were the boys who.
[00:03:06] Speaker F: Believed we saw Gnasher hit jumping Dick over the head.
[00:03:09] Speaker G: Well, not any flesh and blood gnasher, Jack.
[00:03:11] Speaker F: Look, Doc, if Dick was clubbed by any gnasher, it was a flesh and blood gnasher.
[00:03:15] Speaker G: Then you think it is some other girl floating around in a white dress and not Gnasher at all?
[00:03:19] Speaker F: That's the most logical answer. Let's find out. Come on, get hold of this rock. But Jack, if you think it was another girl, why are you so anxious to open Nash's grave?
[00:03:26] Speaker G: Yeah, answer that fella.
[00:03:28] Speaker F: I want to make sure.
[00:03:29] Speaker G: Well, durned if I don't think opening graves is a pretty serious business. Just to satisfy your curiosity, you fellas.
[00:03:35] Speaker F: Going to give me a hand with this rock?
[00:03:36] Speaker G: Quite.
[00:03:37] Speaker F: How about it, Doc?
[00:03:38] Speaker G: Well, okay, but I'D sure put up holler if anybody went to monkeing around my grave once I got myself buried.
[00:03:45] Speaker C: All right.
[00:03:45] Speaker B: All right.
[00:03:46] Speaker H: Now grab hold.
[00:03:47] Speaker F: If we take it together, we can roll it right down off the dome. All right, let's try. Ready, Doc?
[00:03:51] Speaker G: I reckon.
[00:03:52] Speaker F: All right then, let's go.
Up with it. More.
More.
[00:03:59] Speaker G: Keep her coming, Reggie.
[00:04:00] Speaker F: Yeah, she's moving. Look out, Jack, it's rolling your way.
[00:04:03] Speaker G: Let it roll, little one there.
There she goes.
[00:04:09] Speaker F: Hold her, Reggie.
[00:04:10] Speaker G: That's plenty.
[00:04:10] Speaker F: That's quite.
[00:04:12] Speaker G: Man, that's work.
[00:04:13] Speaker F: Hear me say yes.
[00:04:14] Speaker G: Nobody but three guys with strong backs and weak brains would have tackled it in the first place.
[00:04:19] Speaker F: Oh, you admit it.
[00:04:20] Speaker G: Oh, you mean the lame brain part.
Well, it ain't so lame that I'm gonna move that rock back on the grave again after we get through here.
[00:04:27] Speaker F: We'll take care of that when we come to it. Now then, the shovels.
[00:04:30] Speaker G: Nice moonlight night for a grave opening.
[00:04:32] Speaker F: Yes, we got several things to be thankful for.
[00:04:34] Speaker G: Such as what?
[00:04:35] Speaker F: Well, fairly good light sand will be easy to move. Coffin isn't buried very deep.
Sorry. We've got company.
The wolves are out.
[00:04:45] Speaker G: Yeah, looky over yonder in that ridge. That old he wolf brindle.
[00:04:53] Speaker F: Well, let him watch if he wants to. No one else knows we're out here.
[00:04:56] Speaker G: You sure about that?
[00:04:57] Speaker F: I watched pretty careful. No one followed us out. And certainly no one knew when we were coming Here. Give me one of those shovels, Reggie.
[00:05:03] Speaker G: Quite. I'll take you then. Oh, no, no, not at all. You could be relieved, man.
[00:05:07] Speaker F: Doc, I'll start here. Jack, let's go.
No, this is no job at all. I think the top of the casket's only about three feet down.
[00:05:16] Speaker G: I'm pretty doggone shallow, Berrian. I noticed it at the time.
Go on fellow, holler your head off.
This here reminds me of a story my grandma on my mama's side used to tell down in Texas about a woman that she knowed when she was a little girl. The meanest woman that ever sucked on a corn cob pipe. She would snuff too, but man, she was the original hard hearted Hannah. Mean, she put five husbands in their graves before she was 40. Well, anyway, according to my grandma, she upped and died when. When my grandma was still a little girl. They give her a decent burying because there wasn't nothing else to do with her. And then everybody sort of breathed a sigh of relief on account that she is safe underground.
You warned I should relieve you, Jack.
[00:06:05] Speaker F: No, no, with your story.
[00:06:06] Speaker G: Yeah, well, years Went by and my grandma growed up into a woman.
Then things changed a lot. Decided to run a state highway or something right from through the old graveyard. Well, that being the case, naturally all the buried folk had to be moved. And one of them was this cantankerous old woman.
Well, sir, you know what they found when they opened her grave? There was nothing left of her in the box but one thing. No bones, no clothes, nothing. But just one thing. And you know what that was?
[00:06:37] Speaker F: What did I say? What? Her heart.
[00:06:39] Speaker G: And it had turned to stone. No, I swear to my grandmother had. Pure stone.
Yes. Talk about your hard hearted will hold.
[00:06:47] Speaker F: Up for a minute. Reggie.
[00:06:50] Speaker G: How'S it coming?
[00:06:51] Speaker F: Making good progress.
[00:06:52] Speaker G: Let me take off. No, no, no, not at all.
[00:06:54] Speaker F: I haven't even raised a sweat.
[00:06:55] Speaker G: How about you, Jack?
[00:06:56] Speaker F: If you insist.
[00:06:57] Speaker G: Okay, let's go.
Hey, you're getting right down to it. Come on, Ray.
[00:07:03] Speaker H: Right on.
[00:07:07] Speaker F: Well, there's one thing I'll never think of. Bury her dead without picturing that old wolf over on the ridge against the moon.
[00:07:12] Speaker G: Oh, bury you dead's gonna mean something a lot more important than that to me. If we don't get our 25,000 potaters.
[00:07:20] Speaker F: Back, we don't leave this place without it, I can promise you that.
[00:07:23] Speaker G: Well, if you want my opinion, we should oughta be a looking for it instead of messing around nature.
[00:07:31] Speaker F: Who knows, maybe we'll find the money buried here with Nasha.
[00:07:34] Speaker G: Hey, I say. You mean that.
[00:07:36] Speaker F: Why not? Money disappeared about the time Gnasher died. How easy for the maestro to have planted the money belt on the girl's.
[00:07:42] Speaker H: Body, bury it with the idea of.
[00:07:43] Speaker F: Returning when the excitement had died down and dig it up again.
[00:07:46] Speaker G: Well, now that gives me something to dig for. Get it going, Reggie.
Go, go. Why didn't you tell us that in the first place?
[00:07:54] Speaker F: Of course, it's only a theory.
[00:07:56] Speaker G: A fairly good one too. Hey, let's cut out to talking and just dig.
[00:08:00] Speaker F: Suits me, they say. Hey, I've hit something.
[00:08:08] Speaker G: Yeah, yeah, so have I.
[00:08:09] Speaker F: Good work, Doc.
[00:08:10] Speaker G: Climb up out of the hole, huh?
[00:08:11] Speaker F: I can get the rest of it better alone.
[00:08:12] Speaker G: Yeah, about all you got to do is just scrape what's left to sand off the top.
[00:08:15] Speaker F: That's quite.
[00:08:19] Speaker G: You know, I think I can scrape better the rest off with my hands.
[00:08:21] Speaker F: All right. Well, come on, Doc.
[00:08:23] Speaker E: Yeah.
[00:08:25] Speaker G: That'S it again.
[00:08:26] Speaker F: Clean it off around the edges. We don't want sand pouring down into the carpet when we lift them. Yeah, that's what I'm doing.
[00:08:31] Speaker G: I wish they hadn't nailed the top down.
What'd you do with that hammer, Jack?
[00:08:35] Speaker F: Over there, where my coat's lying.
[00:08:36] Speaker G: Okay, I'll get it.
[00:08:37] Speaker F: Oh, bring the flashlight, too.
[00:08:38] Speaker H: Yeah, all right.
[00:08:40] Speaker F: That's good enough, I think. Reggie. I say no, Jack. Don't you feel a bit ghoulish? It isn't the pleasantest task in the world. No, I mean, a bit indecent, exposing.
[00:08:48] Speaker G: Her to human eyes again.
[00:08:49] Speaker F: She's finished with this world and she deserves to be left in peace. Oh, very nice. But we want our $25,000.
[00:08:54] Speaker H: It's quiet.
[00:08:55] Speaker G: Well, here you are, Jack.
[00:08:56] Speaker C: Okay.
[00:08:57] Speaker F: Hold the light while I see if I can get the claw of this hem over the head of some of these nails. Remember, there are only four.
[00:09:02] Speaker G: One in each corner.
Well, that's one of them.
[00:09:09] Speaker F: Yeah, this one's easier. We get this one, I think we can just pull up the lid.
[00:09:13] Speaker G: Well, go ahead and get.
Now we are getting somewhere.
[00:09:19] Speaker F: Can you get your fingers under the lid now, Reggie?
[00:09:20] Speaker C: I think so.
[00:09:22] Speaker H: Yeah, quite.
[00:09:23] Speaker F: I got it.
Sorry to have to do this, but here goes. Hold the flash, Doc. Pull up, Reggie.
[00:09:28] Speaker C: Right.
[00:09:29] Speaker E: Oh.
[00:09:32] Speaker F: There.
[00:09:33] Speaker G: Hey.
[00:09:33] Speaker F: Hey, look. Well, I'll be.
[00:09:34] Speaker G: She's gone.
She isn't here. Hey, what's going on here anyway?
[00:09:38] Speaker F: Here, let me have that flash. But I see it's impossible, Jack.
[00:09:41] Speaker G: No one could possibly have got her out without moving that big rock we.
[00:09:44] Speaker F: Put on top of a picture and.
[00:09:45] Speaker G: Nobody moved a rock. We know that. And there's.
[00:09:47] Speaker F: Then there's only one thing that could have happened.
[00:09:49] Speaker G: Well, same being worse, the coffin was.
[00:09:50] Speaker F: Buried without Gnasher in it. That isn't true, Reggie. Just before the coffin was nailed shut and lowered into the grave, the lid was lifted and we all saw her.
[00:09:57] Speaker G: You darn told him we did.
[00:09:58] Speaker F: But it's so absolutely impossible.
[00:10:00] Speaker G: It couldn't have happened. The coffin nailed shut under three feet.
[00:10:03] Speaker F: Of sand with a huge rock weighing.
[00:10:05] Speaker G: At least a ton on top of the grave.
[00:10:06] Speaker F: Well, it did happen, feller.
[00:10:08] Speaker G: If you want to ask me, the maestro's got some powerful magic to working on his side.
[00:10:13] Speaker F: Nasho's just too smart for us.
[00:10:14] Speaker G: And we still ain't got our 25,000 back.
What you keep looking in that casket for with a flashlight? You don't expect to find Nasha down one of them cracks, do you?
[00:10:23] Speaker F: I don't know what I expect to find, but there's one thing.
[00:10:25] Speaker E: There is.
[00:10:26] Speaker F: Now we know that Nasha's still alive. That it was she who hit Jumping Dick over the head.
[00:10:30] Speaker G: You think Laurie really did see Gnasher? Face to face scene.
[00:10:33] Speaker C: I know it.
[00:10:34] Speaker F: But Jack, you examined Gnasher before she was buried. You swore up and down she was dead. I know. It's what makes me so mad. I'd let the Maestro get away with that right under my nose.
[00:10:42] Speaker G: What you mean, Valley?
[00:10:43] Speaker F: Look, it's a medical fact that a person can be hypnotized into a semblance of death. Suspended animation, no respiration, no pulse. To all appearance lifeless. And I let that Maestro get away with it.
[00:10:53] Speaker G: Well, she sure looked dead to me.
[00:10:54] Speaker F: Well, at least we've exposed his trick before it's too late.
[00:10:57] Speaker G: Exposed his trick, huh?
[00:10:58] Speaker F: That's what I said. Exposed his trick.
[00:11:00] Speaker G: Well, maybe you have, but I ain't. Well, I couldn't explain how Nash, you got out of that nailed up coffin. If I was to swing furry.
[00:11:07] Speaker F: It's another one of his tricks. I don't know how he did it, but you can bet there's an answer. And it hasn't got anything to do with mysticism.
What do we do now? We go back and face the Maestro with what we do know. Put it up to him to return our money or take the consequences.
[00:11:18] Speaker G: Now you're a talking fella.
[00:11:20] Speaker F: And if he doesn't talk fast enough to suit us.
[00:11:22] Speaker E: Jack.
[00:11:23] Speaker G: Jack, look out there in the moonlight. It's a woman. She's coming this way.
[00:11:26] Speaker F: Crouch down, I say.
[00:11:29] Speaker G: It's Jumping Dick's daughter.
[00:11:30] Speaker H: Laura.
[00:11:31] Speaker G: What the heck's she doing out here?
[00:11:32] Speaker E: Hold it.
[00:11:33] Speaker F: She's coming up to the grave.
[00:11:36] Speaker I: Oh, the grave.
Nurse's grave's been open.
[00:11:41] Speaker F: So what?
[00:11:42] Speaker I: Oh, no.
Who are you?
[00:11:44] Speaker F: Jack Packard.
[00:11:45] Speaker I: But the grave is.
[00:11:46] Speaker F: Don't worry, there's nothing in it.
[00:11:48] Speaker I: There's nothing in it.
[00:11:49] Speaker F: That's what I said.
What are you doing out here?
[00:11:52] Speaker I: I've been looking for you.
[00:11:53] Speaker F: For me? Why?
[00:11:54] Speaker I: Something's happened at the Borden house. The Maestros disappeared.
[00:11:57] Speaker G: Disappeared?
[00:11:58] Speaker F: That's ridiculous. It no place for him to go.
[00:11:59] Speaker I: I don't know. I just know it's gone. The freight train stopped up at the Sidon about an hour ago.
[00:12:03] Speaker F: What's that? Did you say a freight train?
[00:12:05] Speaker I: Yes. I think it's picking up the boxcar. You kid.
[00:12:07] Speaker C: Doc.
[00:12:07] Speaker F: Reggie.
[00:12:07] Speaker H: Do you hear that?
[00:12:08] Speaker F: There's a freight train up on the siding. Is it gone yet?
[00:12:10] Speaker G: No.
[00:12:10] Speaker F: Reggie, come on.
[00:12:11] Speaker G: Hey, fella, what's eating you?
[00:12:12] Speaker F: Freight train. You fool. The Maestro's disappeared. Come on.
[00:12:14] Speaker G: Come on.
[00:12:14] Speaker F: We gotta catch that freight.
[00:12:15] Speaker D: TR the further transcribed Adventures of Jack Duck and Reggie will come to you tomorrow at this same hour.
I love A Mystery written and directed by Carlton E. Morse comes to you Monday through Friday. Featuring Russell Forson as Jack, Jim Bowles as Doc Long, and Tony Randall as Reggie York. Frank McCarthy speaking.
This program came from New York.
This is the Mutual Broadcasting System.
The Mutual Broadcasting System presents I love the mystery adventure 3 Villa.
[00:14:59] Speaker F: It's still standing on the siding. I see the headlights. We missed that freight train. We're all washed up.
[00:15:03] Speaker G: Well, it ain't got away from us yet.
[00:15:05] Speaker F: We still got a piece to go. But, Jack, I don't understand.
[00:15:07] Speaker G: Why is this freight so important?
[00:15:09] Speaker F: Because our $25,000 is on that freight train. Oh, I see.
[00:15:12] Speaker G: Hey, how'd it get on there?
[00:15:13] Speaker F: Well, didn't you hear Laura say the maestro disappeared? Where do you suppose he went? You mean the maestro's pulling out of.
[00:15:17] Speaker G: Bury your dead on that freight train?
[00:15:18] Speaker F: You bet he's pulling out.
[00:15:19] Speaker G: Hey, let's go.
[00:15:19] Speaker I: Step on it.
[00:15:20] Speaker G: Oh, the train whistler. Does that be.
[00:15:22] Speaker F: Come on, come on.
[00:15:25] Speaker G: There she goes.
[00:15:25] Speaker A: I can hear her.
[00:15:26] Speaker F: Stop talking. Maybe we can get over at the.
[00:15:27] Speaker G: Tracks ahead of her.
[00:15:28] Speaker F: Oh, bless the bloody dog. I keep stumbling.
[00:15:30] Speaker G: If that fat magician gets away with our money.
[00:15:33] Speaker F: Save your breath. Run like you never ran before.
[00:15:46] Speaker H: It's going pretty fast.
[00:15:49] Speaker F: Can we make it? We've got to make it. Take the first empty box car.
[00:15:52] Speaker G: Hey, hey.
[00:15:52] Speaker F: Here's one coming up. Okay, grab it. Reggie, you go first. Right O.
[00:15:56] Speaker I: Here I go.
[00:15:57] Speaker G: Get in, Jack. Get in. Hurry up, fellas.
[00:15:59] Speaker F: Yeah.
Give me a hand, Reggie. I got you.
Come on, Doc, Give me a hand. Faster, Doc. Run faster. I got him, Jack.
[00:16:09] Speaker G: Jack.
[00:16:09] Speaker F: Grab hold of his collar. He's losing his footing. Hold him. Hang on to him.
[00:16:14] Speaker C: There.
[00:16:15] Speaker F: All right, now pull him up.
Up he comes.
Ah, there he is. Why, say, Doc, are you all right?
[00:16:22] Speaker G: Am I all right? I'm bruised and battered. The desert come up and wham me three times before you fellas got me pulled in.
[00:16:29] Speaker F: You're lucky it didn't go under the wheels.
[00:16:31] Speaker G: I was so close once, a wheel throwed grease in my face.
[00:16:33] Speaker F: Oh, Jove, that's bad business.
[00:16:35] Speaker G: Well, we're here and.
And that's all that.
[00:16:41] Speaker F: I say we certainly pulled out of barrier dead in a hurry.
[00:16:44] Speaker G: It was me, I guess. About had a stomach full of that place.
[00:16:47] Speaker F: Say, you know something?
[00:16:49] Speaker G: What's that?
[00:16:50] Speaker F: This is the same freight car we arrived in.
[00:16:53] Speaker G: It is? Yes.
[00:16:55] Speaker F: Turn on your flash, Reggie. Right now. Look here.
This is the same packing box the maestro used to sit on.
[00:17:01] Speaker G: Well, I'll be Dog gone.
[00:17:02] Speaker F: Freight train must have stopped to pick up this car. Oh, I say, that's why they were here so long.
Fixing the wheel that was frozen, probably. Save the flashlight, Reggie. We may need it later.
[00:17:11] Speaker B: Right.
[00:17:11] Speaker G: Jack, I just been thinking.
[00:17:13] Speaker F: What's the matter now?
[00:17:14] Speaker G: Well, supposing the Maestro ain't on this freight train after all.
[00:17:17] Speaker H: He's got to be.
[00:17:17] Speaker G: But supposing he ain't? Then what we gonna do?
[00:17:20] Speaker F: If he's not on this freight, I'll eat it.
[00:17:21] Speaker G: Well, that ain't saying what we'll do if he ain't.
[00:17:23] Speaker F: Well, the only thing is to catch the next freight back to bury you dead. But I know he's on it. What makes you so sure, Jack? Well, he disappeared from the boarding house. He's so fat and heavy, can't get around in the sand, there's no place.
[00:17:32] Speaker H: For him to go.
[00:17:34] Speaker F: Besides, what would you do if you were stuck in a place like bury your dead with 25 grand that didn't belong to you? You'd try to slip away the first opportunity you got.
[00:17:41] Speaker H: Yeah.
[00:17:41] Speaker G: And he thought he could get away on this freight alone. While we was out there in the desert digging up Nash's coffin.
[00:17:47] Speaker F: Certainly.
[00:17:48] Speaker G: Well, it sure makes sense, all right.
[00:17:50] Speaker E: Mind if I join the conversation?
[00:17:52] Speaker H: Hey, who said that?
[00:17:54] Speaker F: Just me. Who are you? What are you doing in this boxcar?
[00:17:57] Speaker E: Well, goodness, ain't I got as much right in years?
[00:18:00] Speaker F: Anybody turn the flash on him or he's quiet.
[00:18:02] Speaker E: Hey. Hey, what are you trying to do, blind fellow? Take that light out of my eyes.
[00:18:06] Speaker G: Looks like a Bendle stick.
[00:18:08] Speaker F: Okay, Reg, Turn off the light.
[00:18:09] Speaker E: I am a knight of the open road.
[00:18:12] Speaker H: Yeah.
[00:18:13] Speaker E: My name is Swenson. Swenson.
[00:18:15] Speaker F: Well, how do you do, Swenson? Swenson. I'm Jack Packard.
[00:18:18] Speaker E: Jack Packard, eh?
[00:18:20] Speaker F: Yes. These two men with me are Doc Long and Reggie York.
[00:18:23] Speaker E: Ain't got a can of beans on you? I don't guess right. Not.
[00:18:27] Speaker F: We came away in a hurry.
[00:18:29] Speaker E: Yeah, I kind of noticed that.
Didn't I hear you say there was a fat man on this freight with $25,000?
[00:18:37] Speaker F: Oh, you heard that, huh?
[00:18:39] Speaker E: Well, that's what it sounded like.
[00:18:41] Speaker B: Jack.
[00:18:41] Speaker F: Yeah?
[00:18:42] Speaker G: If we is to throw this suite out of this box car, who would know the difference?
[00:18:46] Speaker E: My goodness, why you want to do that?
[00:18:48] Speaker G: Then there wouldn't be anybody on this freight that knew about that money, but just us.
[00:18:52] Speaker E: Good gracious, but you are an impulsive fellow.
[00:18:55] Speaker G: How about it, Jack?
[00:18:56] Speaker E: No, no, no, Wait a minute. You got me all wrong. I'm just Wenson Swenson, knight of the Oven Road. Yeah, yeah.
[00:19:02] Speaker F: Sure.
[00:19:03] Speaker E: Sakes alive, what would a dirty old bum like me want with $25,000?
[00:19:08] Speaker G: What about it, Jack?
[00:19:09] Speaker E: Besides what $25,000? I never heard a word about it. Goodness gracious. I'm so deaf in both ears, I couldn't hear what you said. If you was to shoot a cannon off in my ear.
[00:19:19] Speaker F: You made a big mistake mentioning that money, Swenson.
[00:19:22] Speaker E: Yeah? Please, mister. I'm just a poor old Swede trying to get along.
Just forget I ever said anything, and I'll forget it too.
[00:19:30] Speaker F: Well, I don't know.
What were you doing in this particular car anyway?
[00:19:34] Speaker E: Just riding.
[00:19:35] Speaker F: Where are you from?
[00:19:36] Speaker E: I jumped this freight at Needles.
[00:19:39] Speaker F: Then how did you get in this car?
[00:19:41] Speaker E: Didn't I just say I come from Needles?
[00:19:43] Speaker F: Yes, but this car didn't come from Needles.
[00:19:46] Speaker E: It didn't?
[00:19:47] Speaker F: You know as well as I do this car's been parked out on that siding at Barrier dead for almost a week.
[00:19:51] Speaker E: Yeah, sure, I know that.
[00:19:53] Speaker C: Well?
[00:19:54] Speaker E: Well, it's like this. The car I was riding in up front.
Well, there's three other fellows in it, see?
[00:20:03] Speaker F: What's that got to do with them?
[00:20:04] Speaker E: Well, they are putting on a party. They got a dozen containers of canned.
[00:20:07] Speaker G: Heat they're drinking canteen they can't heat.
[00:20:10] Speaker E: And we change.
[00:20:10] Speaker F: Oh, look here.
[00:20:11] Speaker E: Yeah, sure they are.
Well, they was getting pretty rough and noisy. So when the parade stopped, I slipped out and climbed into this car.
[00:20:20] Speaker F: I see.
[00:20:21] Speaker E: Well, so what's the matter with that?
[00:20:23] Speaker F: Nothing. Just the same, I think we better search you.
[00:20:25] Speaker E: Search me?
[00:20:26] Speaker F: Yes.
[00:20:26] Speaker E: Oh, now, wait a minute.
Suppose I could be a help to you boys.
[00:20:31] Speaker F: In what way?
[00:20:32] Speaker E: Suppose I could tell you where to find the fat man.
[00:20:36] Speaker G: The Maestro?
[00:20:37] Speaker E: Is that his name?
[00:20:38] Speaker F: You know where he is?
[00:20:39] Speaker E: You betch my life I do?
[00:20:40] Speaker F: Where?
[00:20:41] Speaker E: Is it a bet? If I tell you where to find the fat boy, do you Lay off.
[00:20:46] Speaker F: Of me and you'll forget you ever heard about that money.
[00:20:48] Speaker E: Oh, what do I want with money? Goodness gracious, If I had money then I couldn't ride freight trains no more.
[00:20:53] Speaker F: It's a deal. Where's the Mitro?
[00:20:56] Speaker E: Back there.
[00:20:57] Speaker F: Back where?
[00:20:57] Speaker E: In the end of the car. Him and the girl.
[00:21:00] Speaker F: Hey, you mean the Maestro and Nasha are in this car?
[00:21:02] Speaker E: All you have got to do is go back and see for yourself.
[00:21:05] Speaker G: Well, of all the doggone luck.
[00:21:07] Speaker F: Come on, let's go back. Reggie.
[00:21:08] Speaker E: Yes?
[00:21:09] Speaker F: Stay here with Swenson. Watch him right home. Give me the flashlight. Come on, Doc.
[00:21:12] Speaker G: Well, and ain't he gonna be glad to see us?
[00:21:15] Speaker F: If that Swede's Lying.
[00:21:16] Speaker G: Turn on the flash, Jack.
[00:21:18] Speaker I: Who is that?
[00:21:19] Speaker G: Nasha. Nasha, are you alive, honey?
[00:21:22] Speaker I: You are Doc Long.
[00:21:23] Speaker G: Of course I'm Doc Long. Where's my stuff?
[00:21:25] Speaker F: There he is, lying down.
[00:21:26] Speaker I: The maestro is asleep.
[00:21:28] Speaker F: Or pretending to be asleep. Let's see what a kick in the pants will do.
[00:21:32] Speaker H: What's that?
[00:21:33] Speaker I: You dare kick to Maestro?
[00:21:34] Speaker F: Here.
[00:21:35] Speaker G: Here.
[00:21:35] Speaker I: What is this, Maestro? This Jack Packard kick. You Jack Packard?
[00:21:39] Speaker F: Yes.
[00:21:40] Speaker I: Shall I stick a knife in him?
[00:21:41] Speaker H: Jack Packard. What are you doing here?
[00:21:43] Speaker F: I was about to ask you the same question.
[00:21:45] Speaker H: I couldn't stomach Bury your dead another minute. When the freight stopped, I decided to leave.
[00:21:50] Speaker F: Well, you were the only thing in bury your dead that interested in.
So when you left, we came along too.
[00:21:55] Speaker H: And you kicked me.
[00:21:56] Speaker F: That's right.
[00:21:57] Speaker H: Insult on insult.
[00:21:58] Speaker I: Shall I stick a knife into him? My stroke?
[00:22:00] Speaker H: I will do worse than that.
[00:22:02] Speaker F: Such as turning me into a wolf?
[00:22:03] Speaker H: I suppose I have performed wonders. And you still do not believe.
[00:22:07] Speaker F: That's right.
[00:22:08] Speaker H: I have turned Nasha into a wolf. I've turned a wolf into a man. Nasha died and was buried and I brought her back from the grave.
[00:22:15] Speaker G: Was you sure enough dead?
[00:22:17] Speaker E: Children?
[00:22:17] Speaker I: I was dead. And you do not call me sugar.
[00:22:20] Speaker F: There's just one thing you haven't mentioned, Maestro.
[00:22:22] Speaker H: What is that?
[00:22:23] Speaker F: The most important thing of all. You made our $25,000 disappear.
[00:22:26] Speaker H: You talk riddles.
[00:22:27] Speaker F: Oh, no, I don't. You made it disappear. And now you're going to perform an even greater miracle and make a return.
[00:22:32] Speaker H: I haven't your money.
[00:22:34] Speaker F: I think you have.
[00:22:35] Speaker H: Money means nothing to me.
Man who can perform marvels beyond the care of man.
[00:22:40] Speaker F: You're going to return that 25,000 or you're going to be about 250 pounds less lighter when we arrive at our next stop.
[00:22:45] Speaker H: R. What do they mean to me?
[00:22:47] Speaker G: Jack ain't kidding, Maestro. We're going to have them potatoes back if we have to take you apart limb by limb until we find your game's up.
[00:22:54] Speaker F: Now give us that money belt, fools. Stand up.
[00:22:56] Speaker I: You take your hands off to my tr.
[00:22:57] Speaker F: Stand up.
[00:22:58] Speaker H: Take your hands off me. I. I will get to my feet.
[00:23:00] Speaker F: And hurry up about it.
[00:23:01] Speaker I: I spit on you, Doc.
[00:23:03] Speaker F: Keep your eye on Nasha. I'll take care of the maestro.
[00:23:05] Speaker G: You hear that, sweetheart?
[00:23:06] Speaker I: Dog. Pig.
[00:23:07] Speaker G: Swipe.
Ain't you just full of words?
[00:23:10] Speaker F: Come on, come on. Get to your feet.
[00:23:11] Speaker H: It is difficult.
Men of my weight must move slowly.
[00:23:15] Speaker F: Well, keep moving.
[00:23:17] Speaker I: I will help you, Maestro.
[00:23:18] Speaker F: Keep away from me.
[00:23:20] Speaker G: Yeah, Come on back over here.
[00:23:21] Speaker I: You do not touch me. No, I Will stick a knife in you.
[00:23:24] Speaker F: You will?
[00:23:25] Speaker H: Sure enough, there I am standing.
[00:23:29] Speaker F: Now then, I'm going to give you one more chance. Will you return that money?
[00:23:32] Speaker H: Money, the root of all evil.
[00:23:35] Speaker F: That's your answer?
[00:23:36] Speaker H: That is my answer.
[00:23:37] Speaker C: All right.
[00:23:37] Speaker F: Put your hands over your head.
[00:23:38] Speaker H: What's that?
[00:23:39] Speaker F: I said put your hands over your head.
[00:23:41] Speaker I: No, you do not, Maestro. You do not.
[00:23:43] Speaker H: And why should I put my arms over my head?
[00:23:46] Speaker F: Don't argue. Do it.
[00:23:47] Speaker H: But I know on good authority that you're not armed.
[00:23:50] Speaker F: No, I'm not armed, but I am.
[00:23:52] Speaker H: Hey, Jack, I am armed with a gun and I shoot. Well?
[00:23:55] Speaker G: Well, what you know about that?
[00:23:57] Speaker F: Pull up that gun, you fool.
[00:23:58] Speaker H: Don't order me a round, packet. I am master of this situation.
[00:24:02] Speaker F: So you want to add another murder to your list?
[00:24:05] Speaker H: No, no, I don't want to, but I don't mind.
[00:24:08] Speaker G: Hey, you admit you're a killer?
[00:24:10] Speaker H: Why not?
You'll never live to tell.
[00:24:55] 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 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.
[00:26:19] Speaker F: Sam.
[00:26:47] Speaker D: A new Carlton Morse adventure thriller.
[00:27:03] Speaker G: Well, spank me for a baby. Gunplay.
[00:27:06] Speaker H: Keep those hands up.
[00:27:07] Speaker G: I got him.
[00:27:08] Speaker F: A fella?
[00:27:09] Speaker H: No, sir.
[00:27:09] Speaker I: Yes, Maestro?
[00:27:10] Speaker H: Take that flashlight out of Jack Packard's hand.
[00:27:13] Speaker I: Yes, give it here.
[00:27:14] Speaker H: Don't move, neither of you.
[00:27:15] Speaker F: Nice piece of work, Maestro. What do you think it's going to get you?
[00:27:18] Speaker I: You do not worry. The Maestro knows what he is doing.
[00:27:20] Speaker H: Nasha.
[00:27:21] Speaker I: Yes, Maestro?
[00:27:22] Speaker H: Stand behind me with that flash. Hold it so that we're all in the light.
[00:27:26] Speaker I: Yes, Maestro.
[00:27:27] Speaker E: Good.
[00:27:28] Speaker H: Now then, where's your partner, Reggie?
[00:27:30] Speaker G: Oh, he's down yonder in the doorway of the car.
[00:27:32] Speaker F: Doc, you fool.
[00:27:33] Speaker G: But, Jack.
[00:27:34] Speaker F: Oh, never mind.
[00:27:35] Speaker H: Very well. We will go down to the doorway.
Keep your hands up. March.
[00:27:40] Speaker I: I will follow, Maestro.
[00:27:41] Speaker H: Follow close. Keep everyone in the light.
[00:27:43] Speaker I: Yes, Maestro.
[00:27:44] Speaker F: Jack, is there anything the matter?
[00:27:46] Speaker G: That's a silly question, Reggie. Boy, what made you think that?
[00:27:50] Speaker F: But the mice.
Maestro has a gun on you.
[00:27:52] Speaker G: No, York, Put up your hands.
[00:27:54] Speaker H: Put them up.
[00:27:55] Speaker F: What about it, Jack? Better do as he says.
[00:27:58] Speaker G: I don't.
[00:27:58] Speaker F: But what's it all about, Jack?
[00:28:01] Speaker G: I asked the maestro for our 25,000 simoleons back and this here's his answer. I see. Hey, Reggie, where'd That fell.
[00:28:08] Speaker F: Go, Doc. What's the matter with you?
[00:28:09] Speaker G: Well, nothing. All I was going to say.
[00:28:10] Speaker F: Nobody's interested in what you're going to say. Just shut up.
[00:28:13] Speaker H: I am very interested in what he was going to say.
Is there another man in this car?
[00:28:19] Speaker E: Yeah, sure there's another fell. It's me, and I wish it weren't.
[00:28:24] Speaker C: Who are you?
[00:28:25] Speaker E: Just Svenson Swenson.
[00:28:28] Speaker I: Look at him, Maestro. He is bindle stiff.
[00:28:31] Speaker H: What are you doing in this car?
[00:28:33] Speaker E: Well, you don't think I like it any better than you do, do you?
[00:28:38] Speaker H: You're going to like it a whole lot less before many minutes. Keep over there in the light where I'm keeping an eye on you.
[00:28:44] Speaker E: Yeah, sure. You never seen such an agreeable fellow like I am.
[00:28:48] Speaker H: Hackard. Well, go over in the doorway and stand facing out.
[00:28:52] Speaker F: What's that for?
[00:28:53] Speaker H: Going to clear this freight car. They're too many people in here.
[00:28:56] Speaker G: Hey, you're crazy.
[00:28:57] Speaker H: Go to that door.
[00:28:58] Speaker F: Packer, if you think I'm gonna jump out of that door going at this speed.
[00:29:01] Speaker H: You don't have to jump. I'll help you out. A slug of lead between the shoulder blades.
[00:29:05] Speaker G: Oh, look here.
[00:29:05] Speaker F: My stroke.
[00:29:06] Speaker H: What's the matter with you?
[00:29:07] Speaker F: That's a bit bloody, isn't it?
[00:29:08] Speaker H: Packer, do as I say. I'll give you to the count of three.
[00:29:11] Speaker F: And if I don't move, I'll shoot.
[00:29:13] Speaker H: You while you stand.
One.
[00:29:16] Speaker G: Two.
[00:29:18] Speaker F: Shot. I'm not shot. It's the Maestro.
[00:29:20] Speaker I: The Maestro.
[00:29:21] Speaker C: The mice.
[00:29:21] Speaker H: Dasha, turn off that light. Go, Dasha, go.
[00:29:25] Speaker F: Wait a minute.
[00:29:26] Speaker E: Wait a minute. I got the flashlight.
[00:29:28] Speaker F: Hurry up and turn it on.
[00:29:29] Speaker E: Yeah, here it is. Doc. Doc.
[00:29:31] Speaker F: Fine N. Reggie, help me with the Maestro. Yeah, you bet.
I say, look at the Maestro's hand, man.
[00:29:37] Speaker D: Care.
[00:29:38] Speaker F: Rip off his shirt. Make me some bandages. I don't remember who did it. Who shot the Maestro?
[00:29:44] Speaker E: I guess I'm the failure. Had to shoot.
[00:29:48] Speaker F: Good work, Swenson. Now give me a piece of that cloth.
[00:29:50] Speaker E: Here you are.
[00:29:50] Speaker F: Hold that flashlight down closer.
[00:29:52] Speaker E: Yeah. It looks like I shot off one of his fingers.
[00:29:55] Speaker F: Looks like you did all right. Oh, stop groaning in a dead jack.
[00:29:59] Speaker G: Jack Nice is not in this boxcar.
[00:30:01] Speaker F: What's that?
[00:30:01] Speaker G: No, she ain't. I. I look good.
[00:30:03] Speaker E: Hey, you mean that Russian girl jumped out she mustache.
[00:30:06] Speaker G: Oh, but look here.
[00:30:06] Speaker F: Supposing she had that $25,000 on her?
[00:30:09] Speaker E: Then I would say your 25 grand was laying back along the track on the body of a dead girl.
[00:30:14] Speaker G: Well, darn it. Why don't somebody stop the Train?
[00:30:16] Speaker E: How are you going to stop a freight train?
[00:30:18] Speaker G: What about it, Jack?
[00:30:19] Speaker F: There, that'll take care of you, my sir. At least till we can get you to a hospital.
[00:30:22] Speaker G: Well, Jack, our $25,000.
[00:30:24] Speaker F: I think our money's safe enough.
[00:30:26] Speaker G: Hey, what do you mean?
[00:30:27] Speaker F: Have you forgotten? Nasha disappeared from this boxcar once before and came back safe.
[00:30:30] Speaker E: I say.
[00:30:31] Speaker G: Hey, that's right.
[00:30:32] Speaker F: Besides, we don't know that Nasha had the money. Search the maestro.
[00:30:35] Speaker G: You bet we'll search a maestro. Here, you roll over.
Man, don't he suffer good.
Hold that flashlight, Reggie.
[00:30:44] Speaker E: Right.
[00:30:44] Speaker G: Oh, he's got so much fat on his bones.
Nope, nothing on this side.
Roll him over.
[00:30:52] Speaker H: I'm tired.
[00:30:53] Speaker G: Listen at him.
[00:30:54] Speaker F: Over he goes.
Anything at all?
[00:30:59] Speaker G: Limp as a baby.
Hey, Jack, ain't nothing at all on this cart.
[00:31:03] Speaker F: All right, let him sit up.
[00:31:05] Speaker C: Come on, you.
[00:31:06] Speaker H: Up with you.
[00:31:08] Speaker F: Will I?
[00:31:09] Speaker H: Will I bleed to death?
[00:31:10] Speaker F: Sorry to report there is no chance of you bleeding to death.
[00:31:13] Speaker H: Who shot me?
[00:31:14] Speaker E: I did.
[00:31:15] Speaker C: You did?
[00:31:16] Speaker H: You're only a tramp.
[00:31:17] Speaker E: No, I ain't no tramp.
[00:31:19] Speaker G: You're not?
[00:31:20] Speaker F: Then what are you?
[00:31:21] Speaker H: Just a railroad dick.
[00:31:23] Speaker G: Policeman for the railroad.
[00:31:24] Speaker F: What's the idea? What are you doing here?
[00:31:26] Speaker E: Looking for this fat man you was.
[00:31:28] Speaker B: For what?
[00:31:29] Speaker G: For murder.
[00:31:30] Speaker H: What nonsense is this?
[00:31:32] Speaker E: That's right, mister.
[00:31:33] Speaker F: But why is the railroad interested in the Maestro for murder?
[00:31:35] Speaker E: We found a dead man on the railroad right away, near the California line.
[00:31:40] Speaker F: Did the man have a knife in his heart?
[00:31:42] Speaker E: You sure?
How did you know?
[00:31:44] Speaker F: Didn't I tell you? I knew there was a dead man in this car. I touched the knife in his heart in the dark.
[00:31:48] Speaker H: What's that?
[00:31:48] Speaker F: Certainly I did. He tried to make us believe it was one of his manifestations. He let me touch it and then he shoved it out of the car.
[00:31:54] Speaker G: But look, feller, how come you linked the dead body up with the money?
[00:31:57] Speaker E: Maestro? The body was identified.
The man was last seen in the company of Fitzpellure.
[00:32:02] Speaker F: Well, that kind of puts you on a spot. Maestro.
[00:32:05] Speaker H: I'm tired.
Tried, and I have failed.
[00:32:09] Speaker E: Can you admit the murder?
[00:32:12] Speaker H: Yes.
[00:32:13] Speaker E: Why did you kill him?
[00:32:15] Speaker H: I wanted Packer's $25,000 for myself.
[00:32:19] Speaker F: How did you know I was carrying that money?
[00:32:20] Speaker H: You remember back in the freight yards in the Los Angeles. You three were waiting for a freight to pull out. You were hiding in a boxcar. Yes, but we were waiting too.
This man I killed. And Marsha and I, we're outside your box car in the fog.
We overheard you talking about the money.
[00:32:41] Speaker F: So that was it.
[00:32:42] Speaker H: We heard you say you were going to catch the next freight out.
So we went down and got into an empty box car.
Never hoped for you to get into the same boxcar with us.
We only expected to be on the same train.
Follow you two to your next destination.
[00:32:58] Speaker G: And we played right into your hands by getting in the same car.
[00:33:02] Speaker E: When did you kill this other fellow?
[00:33:04] Speaker H: While we were waiting for the freight to pull out.
I killed him in one boxcar. Then because there was so much blood, I carried him to another car.
This one we're in now.
[00:33:15] Speaker F: As long as you're talking, tell us a few more things. We heard a man scream before. I felt the body with a knife in it.
[00:33:20] Speaker H: I did that. I screamed.
[00:33:22] Speaker E: Yeah.
[00:33:23] Speaker G: And how about turning Nasha into an animal?
[00:33:25] Speaker H: Simple magic.
Nasha is completely in my power mentally.
When I placed her in a trance, she will do anything I want her to do.
By thought transference, I do not need to speak, just think. And she does what I think.
[00:33:43] Speaker G: That's really true?
[00:33:44] Speaker H: Yes.
[00:33:45] Speaker G: Those horrible, glaring eyes in the dark.
[00:33:47] Speaker F: And the snarling.
[00:33:48] Speaker H: The eyes were luminous paint which I daubed on her forehead.
[00:33:51] Speaker G: Well, son of a gun.
[00:33:53] Speaker H: The snarling. I did myself like this.
[00:33:58] Speaker F: Oh, Jove.
[00:33:59] Speaker H: Exactly the same. Yes, I did that myself.
[00:34:02] Speaker F: And how about all that wolf business at Bury Her Dead?
[00:34:06] Speaker H: Circumstances fitted right into my plans. The wolves were killing people out there in the desert, so I. I pretended that I was causing it.
[00:34:15] Speaker F: Are you saying you actually didn't kill Alki Joe?
[00:34:17] Speaker H: In Chinese tongue, I did not. The wolves did that. I put Nasha into a trance and made her jump through that window and pretend to go out and call the wolves.
[00:34:27] Speaker G: But what about the wolf you turned into a man?
[00:34:29] Speaker F: The chappe with long hair on his face. Who brought the body of Nasha to the window?
[00:34:33] Speaker H: The people of Berry. Your dead are simple folk. I found a man among them whom I could bring under the influence of my mind.
I hypnotized him, covered his face with crepe hair and had him carry Nasha in.
[00:34:48] Speaker F: You certainly went to a lot of trouble on our account.
[00:34:50] Speaker H: Yes. I was using all the magic I knew to. To confuse you. So that when I got hold of the 25,000, you would not know where to start looking for him.
[00:35:00] Speaker F: You didn't fool me for a minute.
[00:35:02] Speaker H: I know you're a stubborn man, Packer.
[00:35:05] Speaker C: Yes.
[00:35:05] Speaker G: But Nasha, you fooled Jack over her.
[00:35:08] Speaker F: Even he said Gnasher was dead when the chappie with hair on his face brought her in.
[00:35:11] Speaker H: Yes. Nash is so completely in my power, I Can hypnotize her so that she is the same as dead.
A suspended animation, low breathing, no pulse.
Her body takes on a death like white marble hue.
[00:35:27] Speaker G: Then we sure enough buried Nasha while she is still alive.
[00:35:30] Speaker I: Yes, yes.
[00:35:31] Speaker F: But how did she get out of the coffin? It was still nailed shut when we dug it up.
[00:35:34] Speaker H: I made the coffin myself. If you had examined it carefully, you would have found hidden hinges in one end.
When I sent a mental thought to Nasha, she came alive. She opened the end of the casket and dug her way through. Through the sand to the surface.
[00:35:51] Speaker E: Holy jumping cow. You mean that Russian girl opened the coffin and come out alive?
[00:35:56] Speaker H: Yes. It has been done before.
Houdini mystified the world for years with that trick.
[00:36:02] Speaker G: Well, what do you know?
[00:36:03] Speaker F: But why did you go to all that trouble? Why did you bury her?
[00:36:05] Speaker H: With her? I buried the $25,000.
I wanted the money out of the way when you searched for it, miss.
[00:36:12] Speaker G: But who hit Jack over the head out on the desert and took the.
[00:36:15] Speaker F: Money away from him?
[00:36:15] Speaker H: The man with a hair on his face whom I had hypnotized under my influence. He attacked Packard and then brought the money to me.
[00:36:24] Speaker G: Well, I reckon that just about explains everything.
[00:36:26] Speaker F: No, there's two more things. Jumping Dick and Laura, for one thing.
[00:36:30] Speaker H: I can explain them.
That foul woman, Dry Gulch Mary heard Doc Long mention the money you were carrying. She told Jumping Dick, and he and that woman Laura decided to get it.
[00:36:42] Speaker G: You mean his daughter?
[00:36:43] Speaker H: She wasn't his daughter. Just an adventurer stranded out there in the desert.
[00:36:47] Speaker G: You know that.
[00:36:48] Speaker H: I do.
[00:36:49] Speaker G: Well, how's that for pulling the wool over my eyes?
[00:36:52] Speaker F: Well, that explains those two. Now, the most important maestro hut it and I should disappear from this boxcar and then return.
[00:36:59] Speaker H: Turn your flashlight on the door of the car.
[00:37:01] Speaker G: You mean you're going to bring her back now?
[00:37:03] Speaker H: I might as well.
Game's up.
[00:37:06] Speaker F: All right, go ahead.
[00:37:07] Speaker H: Nasha.
Nasha, come back.
[00:37:12] Speaker G: Hey, hey, look. Here she comes floating back through the door of the car here.
[00:37:17] Speaker E: What's going on? That ain't natural.
[00:37:19] Speaker H: Gnasher, come here.
[00:37:21] Speaker I: Yes, Maestro?
[00:37:23] Speaker H: Take off that money belt.
[00:37:25] Speaker I: Yes, Maestro.
[00:37:28] Speaker F: There it is.
There it is.
[00:37:32] Speaker H: Now give it to Packard.
[00:37:34] Speaker I: Yes, Maestro.
[00:37:36] Speaker F: Thanks.
[00:37:37] Speaker G: Hey, but that still don't explain how she got in and out of the car.
[00:37:41] Speaker H: Nasha is an acrobatic dancer.
She simply took hold of the top of the door and swung her body up onto the roof of the car.
[00:37:50] Speaker F: She's been up on the roof of the car?
[00:37:51] Speaker H: Yes. It would be impossible for anyone less lithe and supper.
Even she couldn't do it. Except under my hypnotic influence.
[00:38:00] Speaker F: Maestro, I want to hand it to you. You're a clever man.
[00:38:03] Speaker H: Clever enough to escape this murder charge.
[00:38:06] Speaker F: That I don't know.
[00:38:08] Speaker H: No, I don't think even the Maestro is that.
[00:38:14] Speaker G: Clean it.
[00:38:57] 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.
[00:39:42] Speaker A: That was parts 13, 14, 15, the big conclusion of Bury youy Dead, Arizona from I Love a Mystery here on the mysterious old Radio Listening Society podcast. Once again, I'm Eric.
[00:39:55] Speaker B: I'm Tim.
[00:39:55] Speaker C: And I'm Joshua.
[00:39:57] Speaker E: Woo hoo.
[00:39:58] Speaker A: We did it. We're through. Tim, tell him stuff.
So here is the overall what I walk away with.
[00:40:07] Speaker C: Let's save that to the end. Or you want to open with this. I just want to talk about something. Right.
[00:40:12] Speaker A: Okay.
[00:40:12] Speaker C: At the top of episode 13.
[00:40:13] Speaker A: Yeah. Do it.
[00:40:14] Speaker C: Because it follows up on something I said last week where you're like, you only have three episodes.
[00:40:19] Speaker A: Right.
[00:40:20] Speaker C: And so Morse chooses to use one of these episodes to essentially dig up a body in real time.
[00:40:28] Speaker B: Yep.
[00:40:29] Speaker C: And in order to cover for that fact, has Doc Long share some really not very entertaining anecdote from his youth about a cantankerous old woman who was buried and later they found Jester Stoneheart.
[00:40:44] Speaker A: Like it's another complete Isle of a Mystery episode.
[00:40:48] Speaker B: Was that Lady Stark?
That was not worth the trip.
[00:40:57] Speaker A: Yeah. So exactly what you were saying at the end of our last podcast, you don't have a lot of time to explain a lot of things.
And 13, you don't explain anything.
[00:41:10] Speaker C: So the only new information.
And it's exciting, it's a great cliffhanger when Laurie shows up and goes, a train arrived and the Maestro's getting on that train with our money.
[00:41:20] Speaker A: Right.
[00:41:21] Speaker C: Run. Well, it's not in the coffin. It's empty. There's no body, there's no money.
[00:41:25] Speaker A: Right.
[00:41:26] Speaker B: There's a little sense to it. I will.
[00:41:28] Speaker A: All right.
[00:41:29] Speaker C: Sorry.
[00:41:29] Speaker B: That's damning.
[00:41:30] Speaker C: With faint praise.
[00:41:30] Speaker B: Like there's a tiny little bit of narrative that is if you squint and.
[00:41:35] Speaker C: Stand on one foot.
[00:41:37] Speaker B: This is playing the wait for it game of what's in that coffin.
[00:41:43] Speaker A: Right.
[00:41:44] Speaker B: They have said over and over again, Jack, 100% confirmed that is a dead body.
For real dead. I checked. I Double checked, nailed it in.
What are you going to find when you open it up? And the idea that the whole audience is like, what's in there? Is the money in there? Is the body in there? What are they going to find?
And to tease us with. Well, first you gotta listen to this story by Doc.
[00:42:09] Speaker C: Yeah, it builds great tension, but the fact that it's empty is the most obvious outcome. So that's where the disappointment lies. And again, I will dam it with faint praise by saying it's rescued by the excitement of that cliffhanger. Like, while we've been telling anecdotes and digging up this grave, the maestros waddling.
[00:42:29] Speaker B: His way out to the tree, Right.
[00:42:31] Speaker C: It tells you how long it took them to dig up this grave because the maestros waddled all the way to the drain.
[00:42:37] Speaker B: Before we lose this opportunity, I think this is our last chance to offer the exposition of all the things we talked about between the last recording and this one that we did not actually.
[00:42:48] Speaker C: Record.
[00:42:52] Speaker B: Because it was fascinating stuff.
[00:42:54] Speaker A: Yeah, very well, in all reality, what we did talk about cannot be recorded.
And none of you will ever know. But as I think about what we talked about between recordings.
Yeah, we.
You're better off not knowing that about us.
[00:43:11] Speaker C: Dry gulch. Mary's ears were burning.
[00:43:16] Speaker A: So. But Tim's right.
I'm gonna give Tim credit because that exposition of that is what allows us to understand how much time has passed, giving him time to get on that freight train.
Maybe that's the point of why he's making us listen to all of that.
[00:43:37] Speaker B: To feel that time you were watching these guys dig while there's off in the distance, this little silhouette.
[00:43:48] Speaker A: Yeah, right. How did he get in?
[00:43:50] Speaker C: Yeah, there's this, like, Laurel and Hardy scene of Nasha trying to push him into this freight car.
And they keep switching hats.
[00:44:04] Speaker A: So they get in the freight car. So that's all a 13.
[00:44:07] Speaker C: Yeah.
[00:44:08] Speaker A: They get into 14.
[00:44:10] Speaker C: And we get Swenson. Swenson the Swedish.
[00:44:13] Speaker A: And we get one of the weirdest.
[00:44:17] Speaker B: I thought, here it is, here's the payoff.
Maestro doffs his fat suit, puts on a Swedish guy outfit.
[00:44:27] Speaker A: You know, Swedish guy outfit.
[00:44:28] Speaker B: Yeah, the classic what you get. Sincere Halloween, sexy Swedish man.
And just.
I don't know, I just happen to be on this train. I'm just a Swedish guy. I'm not fat. I can't be the person you're looking for.
I. 100%. That's what's going on here. I gotcha.
[00:44:47] Speaker A: So he's just like one of the two guys from abba, but then also from the writer's angle. Why are you making so much comedy relief at this point? Swenson. Swenson obviously trying to make a joke about Swedish names or whatever. It is such a ridiculous cartoon accent.
[00:45:13] Speaker C: Well, I'm assuming that this is Robert Dryden again, the guy who played Jumping Dick. Yeah, because they're not going to cast somebody for just one Swedish role. So that may be part of why they're adding the ridiculous accent.
[00:45:27] Speaker A: But it's such a joke.
[00:45:29] Speaker C: And they're so mean. They're like, just interrogating this guy and he's just like, I just want a can of beans.
[00:45:34] Speaker A: Right. Just going after him. And then, well, Doc makes listen, so we're gonna kill you. And he's like, yeah, don't do that. And the entire time Jack is quiet. And then he finally weighs in with, yeah, I'm considering that. I am considering killing you. You know, too much.
[00:45:50] Speaker C: This is why they don't carry guns. Because they would just, in a moment of rage, murder every Swede they run into.
[00:45:58] Speaker A: But I'm waiting for Jack to say, okay, Doc, calm down.
[00:46:01] Speaker C: But no, he's, no, he's losing his. He's like threatening the maestro that he's gonna be 250 pounds lighter. I don't even understand that threat because gonna like force document zempic.
What do you mean he's gonna be £250?
[00:46:15] Speaker A: Doc says, we're gonna remove you limb by limb. We're gonna. We're gonna remove a limb?
That's gonna be the torture until you tell us you know where our money is. Holy crap. You guys are nuts.
You're not heroes. You're psychopaths.
[00:46:31] Speaker C: They're dogs. Pigs. Swine, as Nasha calls them.
[00:46:34] Speaker A: Right.
[00:46:37] Speaker B: So.
[00:46:37] Speaker A: But we still don't get any more information in 14.
[00:46:42] Speaker C: No. So we're down to insist that he stands up so he can be searched again.
Only Carlton E. Morse would pad out his penultimate episode with.
[00:46:52] Speaker B: Did they actually search him?
[00:46:53] Speaker A: No. He pulls.
[00:46:54] Speaker C: No, they never get to it. Okay, but they're demanding that he stand up so they can search him. All I know is I, I that in episode 14 there's a good 30 seconds dedicated to a fat man standing up.
[00:47:08] Speaker A: Yep.
[00:47:08] Speaker B: Oh, I thought the Sven.
[00:47:09] Speaker C: Sven let me search him, but.
[00:47:12] Speaker A: Which means you now have one 12 minute episode to answer a thousand questions.
It's better be good and it wasn't.
[00:47:23] Speaker C: And it begs the question if the Maestro had a gun the entire time.
Take your money belt.
[00:47:31] Speaker A: In the, in the first episode Boxcar.
[00:47:35] Speaker C: And shoot them and throw them off.
[00:47:38] Speaker A: You've already killed a guy, by the way. That's never exciting. So we get in there and. Yes, and he was my partner, he was a buddy of mine, and so I killed him there.
[00:47:46] Speaker C: Why?
[00:47:47] Speaker A: Why did you kill him? That's never explained. You just killed him, put a knife in him and then threw cut him out.
[00:47:53] Speaker C: That, you know, I think we're meant to assume that, you know, there would be less money to split because we are told we have no backstory to Nasha. She is just an absolute slave.
She has no agency. She's completely under his control. So she's not getting a cut of this money.
[00:48:12] Speaker A: Yeah.
[00:48:12] Speaker C: So it's all for the maestro.
[00:48:14] Speaker A: All right, so it's in episode one of this podcast of this series, we gave you a lot of background information on Isle of A Mystery, where it came from.
We also told you that it did inspire the writers of Scooby Doo.
In fact, it's well documented that they took the formula of I love a mystery and turned it into how do we do what Morse did in 15 to 20 episodes constantly, from 1939 through 1952, a show which, by the way, America loved and adored. It was a very popular.
[00:48:54] Speaker C: A lot of people listen to it. 90 some year old mother in law list this as one of her favorite shows of the era.
[00:49:00] Speaker A: So it was well known. So in 1965 or whatever it was, when they say, hey, we want to write a kids mystery, these people grew up with this and they took that formula. It is so clear in this episode that Scooby Doo was inspired by this show because that is the most Scooby Doo ending. They out Scooby Dooed Scooby Doo with this ending with the glowing eyes. I drew some eyes on her. Okay, how about this one? Everything is so ridiculous.
[00:49:33] Speaker C: Well, what bugs me a little is that hypnotism is used as this naturalistic thing that can do anything and explain it as scientific and real.
[00:49:44] Speaker A: Yep.
Not only that, there is no logical explanation.
[00:49:48] Speaker C: She uses hypnotism to transfer his thoughts into her mind. That's telepathy.
That's not hypnotism.
[00:49:56] Speaker A: And the fact that, well, that's real and that works, well, that's not an answer to this.
[00:50:01] Speaker C: The solution is he's actually a mystic.
[00:50:04] Speaker E: Correct.
[00:50:05] Speaker A: Correct. The answer to all of this.
[00:50:07] Speaker B: I think he's got her clicker drained.
[00:50:12] Speaker A: That's exactly right, though, Joshua. The answer to this mystery of. Okay, there's gotta be a logical explanation, which is what Morse is Known for.
And giving you that logical explanation and giving you that out where you go, oh, okay. I was given all the information.
I didn't put it together, but that makes sense. And there is no actual supernatural or paranormal. This one is. And it turns out he was a mystic.
[00:50:36] Speaker C: He told you in early like episode two that he was using hypnotism.
[00:50:41] Speaker A: It's writing yourself into a corner.
[00:50:44] Speaker C: Boo.
[00:50:45] Speaker A: Right?
And not giving us any solution other than oh yeah, the entire time, Jack, you were wrong. He is magical. And that's what was going on.
[00:50:55] Speaker C: He has the power to perfectly mimic wolf records.
[00:50:59] Speaker B: Like this.
[00:51:03] Speaker C: Crackle of the vinyl.
[00:51:04] Speaker A: Who made the noise?
Oh my God. So you can make a lion and a bear noise or whatever like that. And you're poor.
You are unbelievably talented.
Also, we find out for no reason at all that Jumpin Dick and Laurie turns out that they're not father and daughter. So what?
[00:51:26] Speaker B: She's just someone who got stuck in town.
[00:51:29] Speaker C: She was an adventurous.
[00:51:31] Speaker A: Right, and so what is the point of telling us that? Then why are you trying to marry her off? And why is that a reveal of any kind? It doesn't supply any motivation for anything that they're doing.
[00:51:40] Speaker C: I mean, you can fill it in as we attempted to during this long procedure of like he's trying to lure them and they would pounce on him and search them for the money belt. Perhaps.
[00:51:52] Speaker B: I actually took that.
[00:51:53] Speaker C: No, that doesn't work.
[00:51:54] Speaker B: He does have a daughter.
But when he found out there's this money, he changed this plan. And like hey, other lady who's you.
[00:52:02] Speaker C: Are a generous human being.
I have not yet also a chump.
[00:52:09] Speaker A: The man that was turned into a wolf turned out to be just some local guy that he glued some hair on at least. When did he do that? How did he get into town?
[00:52:17] Speaker C: That I don't care about. Because that's at least something within the realm of acceptable genre notion of hypnotism.
We can control people and tell them to do things and they do it. But the telepathy, hypnotism, questioning everyone in town.
[00:52:35] Speaker B: He failed to count successfully to 18.
[00:52:38] Speaker C: Yes.
[00:52:40] Speaker F: Yeah.
[00:52:41] Speaker A: In general, Morse writes really well. I like his stories.
Like I said, they're not deep, but they're fun. And then has these conclusions, these wrap ups that are if not plausible, you go, oh, that was a really fun wrap up. This story is so good. The train in the middle of nowhere, name of the town is bury your dead. All of these things. A woman turning into a wolf and the walking wolf man and all of these things. It's such a great story and I love it so much.
Episodes one through 14.
Nope. One through 13. I don't like Swenson.
[00:53:18] Speaker B: Swenson, that was another fun Swiss.
He's a railroad cop.
[00:53:23] Speaker A: Right?
[00:53:24] Speaker C: Yeah.
[00:53:24] Speaker A: And then that and that turns into nothing.
That he reveals that. And like. Okay. And for what reason are we knowing that? None. Because it has no bearing.
I'm gonna. This is what I'm getting at. All of that excellent story.
That is a terrible ending. 14 and 15 are so disappointing for something that really is from episodes six through 12 a lot of fun.
[00:53:51] Speaker F: I'll say.
[00:53:51] Speaker A: Through six through 13. Even them unburying her in the coffin and. Yeah, by the way, the latch on the coffin and her being able to claw her way out.
[00:54:02] Speaker B: Three feet buried, soft sand.
[00:54:04] Speaker A: Okay.
[00:54:05] Speaker C: She was hypnotized.
[00:54:06] Speaker A: Okay.
[00:54:06] Speaker C: She's a dancer. All right. She was doing like Rockette kicks to get herself out of that.
[00:54:11] Speaker B: It's doing the one inch punch.
[00:54:13] Speaker A: It's just really a disappointing. Considering what I know about Morse and what he's capable of. This was not great.
Loose end tying.
[00:54:25] Speaker C: No.
[00:54:25] Speaker B: So at the very top of this whole run, you had expressed both of your enthusiasm for the series, like you love this, but you also listening with fresh ears, knew that you like. This is a little apology for some of the plot shortcomings.
[00:54:38] Speaker A: Right.
[00:54:39] Speaker B: And I wanted to put a pin in that. And I will now unpin that to respond to it because, yes, we've been.
[00:54:45] Speaker A: Waiting the whole seven weeks.
[00:54:48] Speaker B: I mentioned throughout our exploration of this series how much I enjoyed the gray area between how powerful the Maestro says he is and how much he can do when clearly he can do some. But his main power is just keeping it vague of how much. We know it's not the full amount, but it is some.
So when you get to the end, I was not bothered by air quotes, hypnosis powers, which are garbage in real life.
It for me, for that through line of trying to discover just where it lands for real and how interesting it is to me how much more effective it can be by lying about how much it really is through that lens. I enjoyed this ending.
[00:55:38] Speaker A: Interesting.
[00:55:39] Speaker B: The impossibility of it being real didn't bother me. It wasn't a matter of like, is it real or is it not real? It's where's the line?
[00:55:47] Speaker C: I agree with you that I enjoyed this thoroughly because I don't think the solution for me is what is fun about Morse.
He is a great writer of character and of dialogue and serials. By their nature are a handful of people running around in circles talking.
And I think that's why people love it so much to backtrack to Tim's point, because Jack's character, it is so crucial to his character that he disprove.
[00:56:21] Speaker A: Yes.
[00:56:22] Speaker C: The mysticism of the Maestro. That's where I react so negatively toward this solution satisfies Jack, being I hypnotically can order people around with my mind and reproduce death and all these things that are essentially. What he's saying is magic because he's using the word hypnotism, it's okay. And I really like the picture you paint about this disparity between, you know, what the Maestro says he's capable of and what he isn't and where the magic really lands and where the sleight of hand really is. But ultimately, it is this war between Jack and the Maestro. And I feel like Jack should be as pissed off as I am not. He's like, see, I was right. I'm like, no, you're wrong.
He's a mystic, as described.
[00:57:16] Speaker A: Yeah.
[00:57:17] Speaker C: He has superpowers is what he's telling you.
[00:57:21] Speaker B: Every point at which I thought, here's the explanation. Here's where you can see the wires when Nacha's floating back into the every moment, I'm subverted like, no, he's the Swedish guy in disguise.
[00:57:33] Speaker C: No.
[00:57:34] Speaker B: That was both frustrating and like, okay, so what is it? No, okay, so what is it?
[00:57:39] Speaker C: And that's. The childlike appeal is to be wrong and excited about being wrong. Yes.
[00:57:46] Speaker B: That was my joy of this last episode.
[00:57:48] Speaker C: Yeah. And, I mean, I think some of the images he paints don't line up. So the idea of them all thinking they see her float with a luminous glow and all that into the boxcar that doesn't jibe with an acrobat flipping onto the ceiling of the car. Like, that image.
[00:58:03] Speaker A: Correct.
[00:58:04] Speaker C: Does not go together. They would have to be drunk and in more than just dark, because you can see movement in the dark if you're just seeing shadows. And you would know the movement of someone in an acrobat is very graceful. But the movement of someone flipping onto a roof is very different from someone floating into the car. And that's the language used over and over again. And my guess is he wrote it and had no idea what the solution was.
[00:58:28] Speaker A: Correct.
[00:58:29] Speaker C: And then it was. The deadline came up, and he was like, she just flipped onto the roof.
[00:58:34] Speaker A: That is why I said, I think he wrote himself into a corner.
[00:58:37] Speaker C: But maybe he didn't. At the same time, I'M now flashing back to I can't remember which episode where she's covered in blood and rust. Which implies early on he thought, oh, she's on the roof of the train car.
[00:58:48] Speaker A: How do you get covered in rust?
[00:58:51] Speaker B: Depending on what the roof's made out of, that gets rained on all the time.
[00:58:53] Speaker A: But does it cover you if you.
[00:58:55] Speaker B: Roll around on it? I could get rusty up there, put a little effort into it.
[00:59:00] Speaker C: Ride big picture. I think I'm in agreement with Tim is that it is more fun than frustrating to me. If you're a very, I think, concrete thinker. The appeal of this is the mystery and the solution. Like it's an Agatha Christie, right? He is not Agatha Christie. And I think that expectation, even in the best of Morse is going to be frustrated because that is not what he is writing. It is not a drawing room mystery. There's not precision to his solution solutions.
[00:59:34] Speaker A: Let me put it this way.
I said at the top, listen loosely, right? Meaning don't put a magnifying glass. That's how I love a mystery. And Morris's writing is fun. I give him that grace constantly in everything. And when I do, I have a great time.
I gave him that grace throughout this entire thing.
That's too much for even me. That's too ridiculous. I gave you a lot of leeway. I always do. I'm not here to have that Agatha Christie tight ending. I know what this is, but all those things we just said, there's not enough substance for me to give it grace.
As we head into the vote right. Of this seven weeks I love so much. Episodes one through 13, 14 even, you know what I mean? It's so great. It's so scary. So much suspense, so much cool stuff going on.
The wrap up doesn't ruin that for me at all. I have a great time.
It's super fun and I don't really care about the ending. I would like to sit down and rewrite it for him and give some solutions to this. But the bottom line is listening to them go through all of this in the process was more important the fun that you have on the way there.
But that conclusion, even with the grace we give Morse, even with all of those things, that's unacceptable conclusion.
[01:01:08] Speaker C: Okay then, what's your vote? We're. I think we're there.
[01:01:11] Speaker A: Sorry. Ah, not a classic. Pretty good up until the ending.
[01:01:17] Speaker B: To flip a little and say what I did not like about the ending is that the. The arc of it, the emotional note is just like, oh, you caught me on the boxcar. Okay, here's everything. Blah, blah, blah, blah, blah, blah. The maestro's personality is just gone.
[01:01:30] Speaker C: Yeah.
[01:01:30] Speaker B: And then also conversely, like the actual motivations for the crime and why it happened the way it did, I thought tracked pretty well.
Like, I want that money. I heard, when I heard that money, I wanted to get it. And I wanted to do it in a way that was not gonna come back to me because I can't run fast, I can't escape.
So I need to make sure that no one's gonna follow after me. But from actual vote, I'm gonna say just shy of classic, because I will take your word for it. Not a classic of Morse, that you are better schooled in Morse than I am. But I certainly enjoyed it. It certainly holds up. Stands test of time. And as we've discussed, its legacy is huge. Yes, it casts a very long shadow.
So the only reason I would not say classic is it sounds as though I don't have the same exposure to other morphs. That would be even better.
[01:02:16] Speaker A: Thing that Cries in the Night is classic.
[01:02:18] Speaker C: Yeah.
To touch on what Tim said, I see your justification for why he tried something so convoluted to make it appear as if he never stole it and can't be called out or caught for it. But he did just murder his partner in cold blood for nothing.
[01:02:37] Speaker B: And if he had at any point before anyone else knew about this, he could have just acted and no one would know. The money stolen.
[01:02:43] Speaker C: Yeah, he could have shot them taking the money, and that would be that.
But again, we don't need to keep relitigating the ending of this particular serial. I would say it is not a classic. I think the Thing that Cries in the Night is a classic. But I think it's better than City of the Dead. I lose less patience with it.
I think it's more exciting through the middle than City of the Dead. Even if City of the Dead's wrap up is better.
[01:03:09] Speaker A: Right.
[01:03:10] Speaker C: It is still 15 episodes and I would rather be entertained for 12 to 14 episodes and be disappointed by the last 10 minutes than to be bored for six or seven episodes in the center.
[01:03:24] Speaker A: I agree with that.
[01:03:25] Speaker C: So, yeah, not a classic. I think it stands the test of time and the reason it stands the test of time to do a little podcast that happened between the podcasts. Before we started recording tonight, we were talking about Star Trek and the various appeals of the classic series. And I feel like the appeal of I Love a Mystery is the same for me as classic Star Trek in that it is the weird and compelling and enjoyable relationship between Jack, Doc and Reggie. The way original Star Trek is that relationship between Kirk, Spock and McCoy. Correct. So that gets you through. That's why I personally, even though City on the Edge of Forever is a classic and so much better than Spock's Brain, I still love watching Spock's Brain because I get to spend time with Kirk, Spock and McCoy. So that investment in those characters and the strength of how they are drawn and how they are performed can be the rewarding part of this type of narrative where we are returning again and again to the same characters we love. And that's how we forgive lesser stories while still acknowledging them as lesser.
[01:04:39] Speaker A: I agree with you a thousand percent. In fact, earlier some episodes ago, this podcast, I said Tony Randall and Doc and Reggie are just really amazing, fun characters. Like that really does carry us their relationships together.
[01:04:54] Speaker C: And even when they're awful, you're like, ah, they're kind of fun. Right.
[01:04:59] Speaker B: Like us.
[01:05:00] Speaker A: Let's thank our Patreon again.
[01:05:02] Speaker C: Mark, thank you.
[01:05:04] Speaker A: Thank you for recommending us doing this. And we did it. Seven weeks.
[01:05:08] Speaker C: Yeah.
[01:05:09] Speaker B: Just so glad it didn't suck.
[01:05:10] Speaker C: Yes.
[01:05:11] Speaker A: Whoa.
[01:05:12] Speaker B: It's been a lot.
[01:05:14] Speaker C: I don't want to pat ourselves on the back, but you guys have listened to this over seven weeks. We recorded all of these in a row.
That's our maestro. Like reveal.
[01:05:26] Speaker A: Tim, tell him stuff.
[01:05:27] Speaker B: Please go visit ghoulishdelights.com that's the home of this podcast. You'll find episodes wherever you get podcast episodes. But if you go to ghoulishdlights.com you can leave comments. You can vote in polls. Let us know what you think.
[email protected] you'll find out about our store where you can go out and buy a coffee mug.
We also have like T shirts, caps. You could get a cap with our logo on it.
Do you want a cap?
[01:05:52] Speaker C: We should get a bindle stick that has the morals logo on the bag.
[01:05:57] Speaker B: On the end of it.
[01:05:58] Speaker C: Awesome stick.
[01:05:59] Speaker B: You'll also find a link to our Patreon store.
[01:06:01] Speaker C: Yes, go to the page. You can buy us if you go to patreon.com themorals absolutely something we are willing to accept. Yes, go to patreon.com themorals and become a member of the mysterious old radio listening society.
Be like Mark. Or if you're like Mark, why did you make us listen to seven episodes of that? You can become a patron and make us listen to seven episodes of something else. You have so much power with just a little bit of money and the.
[01:06:31] Speaker A: Mysterious Old Radio Listening Society Theater Company performs live on stage audio dramas, doing live recreations of classic old time radio shows and a lot of our own original work. Come see us performing radio plays by going to ghoulishdelights.com there you'll find out where we're performing, what we're performing and how to get tickets. Ghoulishdelights.com and love to see you there. But if you can't make it, being a Patreon gets you access to the audio recordings of our live performances. So do that. What is coming up next?
[01:07:07] Speaker C: Next, in honor of the spooky season, we are returning to the Orson Welles era of the Shadow for an episode of My Choosing, the Mark of the Bat.
Until then, look out.
[01:07:26] Speaker B: Let's just instead say that we killed Chinaman Tom.
[01:07:31] Speaker C: It's Chinese Tom.
[01:07:33] Speaker B: Sorry.
[01:07:33] Speaker A: Yeah. Geez, you made it worse.
You took a terrible thing.
[01:07:38] Speaker B: He thought it was like a superhero.
[01:07:40] Speaker A: I don't think so.
