 Archobelers lights out everybody. It is later than you. This is Archobelers bringing you another in our series of stories of the unusual. And once again we caution you, these lights out stories are definitely not for the timid soul. We tell you calmly and very sincerely, if you frighten easily, turn off your radio now. Cut. What? Your husband will be turned down here in a minute. Come on, 20, we better blow out of here. No, no, don't go, don't go. I don't want to be alone. What do you mean alone? Your husband's in the next room, isn't he? Oh, that guy. What does he know about having fun? Work, work, work. It makes me sick where I've never been sick before. I can stick around. Let's have some more fun. Oh, you can. Some more fun. The devil. Hi, Johnny boy. Come on in. The water's fine. Only it ain't water. Okay, why not? I haven't taken. I'm trying to work. Oh, go away. Go away. You're spoiling my party. Fill him out of here, Kenny. He's only my husband. Let's get him out of here, you. Take that other woman with you. Come on. Come on. Come on. Come on. Come on. It's them all. Linda, haven't you any consideration at all? I think you pleaded with you to try to keep these people out of the house while I'm getting some work done. And you persist in doing dust the opposite. You kicked them out. My friends. Yes, yes. I kicked them out and I'll do it again every time I find them here. They're no good. You've given me your word time and time again to give them up. Calm back. Calm all back. You can't tell me what to do. Not me. They're my friends. Mine. I'll give a dozen of you for one of them. All right, Linda. If that's the way you feel, I guess you and I have finally come to the end of the road. You haven't got a grain of loyalty in you. All I ask is a little peace and quiet in my own home and I can't even have that. Ah, go away. Go away. Night after night, you and those people, yowling and screaming like a pack of alley cats. And you, the worst of all. I'm through, Linda. I'm through with you for good. For me. Keep away. Let me go. Let me go. I don't want you, you fool. You're not through with me. I'm through with you. No, no, Linda. I'm tired of you. Do you hear me? I'm tired of you. I'm going to get so far away from that smug face of yours that I couldn't see it with a telescope. Linda, my wife. Your wife. Why do you think I married you? I thought you loved me. I married you because I was sick of working in a two-bit barbershop because I was sick of living in a hall bedroom wearing bargain sale dresses. I wanted to dough plenty of it all I could get. You were the best chance to get it, but came my way. No, no, Linda. You did love me. You must have loved me. I loved you about as much as that canary up there. I loved it, too. I told myself I'd stay with you here. Divorce you, stick you for plenty of alimony, and then get out. We've been married five years. Yeah. Because you fooled me. That's what. I fooled you. Yeah. You started to make a lot of money. More money than I ever thought you could make. So you're giving me the air. No, no, Linda. I love you. I'll always love you. I didn't mean what I said. Well, I did. No, Linda. Don't leave me. You're no good. I know you're no good, but have me healthy. I love you. I'll never love anybody else. I'm on my way. No, no. I won't let you go. You've got to free your hands off me. No, no, good. You've got me my self-respect. But you'll stay with me. You'll stay with me. Or I'll cut you off and have a fit. You won't get a dime from me. No, let's die. Drop that. Drop that. Oh, you sad, sad. And I cut me off without a cent, are you? Oh, you fool. I've got everything that belongs here now. You hear me? Everything. What are you talking about? What are you saying? It's house. It's in my name, isn't it? The car. It's in my name, isn't it? I know, but I know you. You wouldn't. Oh, wouldn't I? Well, listen to this, my darling husband. I cleaned out the bank account yesterday. Every cent. I won't be in the street. You will. This is mine. I'll get your things and get out of here. I'll kill you. No. I'll kill you. Don't come near me again. I'll tear your eyes out. Get out of my way. You think like one. You squeak like one. You claw like one. You even look like one. But you are a great white cat. I didn't marry a woman. I married a cat. Keep it up. Keep it up. You're doing well. Go on, laugh at me. But you're a cat. A sneaky, yowling cat. You stop saying it. A cat. A cat. You hear me? Stop saying it, my cat. John, what's happening to me? John. John, you've got to control yourself. Everything will be all right. Oh, John. What have I done? What have I done? John, please. Pull yourself together. You're not entirely to blame for what happened. All right. I do. I did it. I am to blame. Stop talking like that. Repostors, to say you're to blame. She was hysterical, John. And the suggestion that she was a cat caught her in an unguarded moment and resulted in a temporary neurosis. Oh, talk to her. She's got to get well. She's got to. Oh, course. She'll be all right. A little rest. Quiet. And in a few days, it'll all be forgotten. It's she. Is she sleeping? Yeah. I gave her a Saturday. She's resting very comfortably. Can I go in and see her? But I tell you, she's sleeping, John. I know. But oh, I've got to feel. I've got to look at her. I've got to make sure she's all right. Don't you see? I've got to make sure. John, please. You've had a hard time of it. You'd better get to bed and get some rest. Oh, no, don't. I'll listen to me. I've got to see her again. I've got to make sure that she's all right. I can't rest until I know. I tell you. Very well. Just for a moment. Yes. That's been very nice of you. Look at her. And there. There. Come on. Let's see. Let's see. No, no, no, John. You're waking her. Let's do it. Daddy, John. I can't stand this. My beautiful wife, Linda. Doing a little crazy myself. Happening to her. What is it? I don't know, John. I don't know. You've got to do something. You've got to. No, my friend. You've got to help me. What? In the name of all that I should know what. Don't think there must be something you could do and try something anything. John, I don't know what to say. I can't think. I'll call in someone else. That's it. I'll inform the authorities. They'll take care of everything. No, no, no. Wait. What's the matter? What is it? You're going to inform the authorities? Yes. Yes, of course, John. Don't you see it's the simplest way out? Way out? Of course. Of course. For you and for me. What do you mean, John? This horrible thing that's happened to Linda. It goes beyond just your needs. Goes beyond the normal into the supernatural. Everyone should know about it. The world should know about it. You mean you're going to let everybody know what's happened to Linda? Of course I am. But you can't do that. She's my wife. You hear me, my wife? No, no, no. Don't get excited again, John. Listen sensibly. We owe it to science. Science? Who cares about science? She's Linda. She's my wife. Listen to the God that said to me to a yowling being. It's my shame, mine. But you're not going to tell a living soul about it. No one you hear me know. It's my duty, John. I must inform the authorities. No, no. Keep away from that phone. Keep away, I say. I'm sorry, John. Try to sleep, darling. Try to sleep. Yes. Yes, I know, I know, darling. But it's almost morning. You must rest. Please, Linda. Please, Linda. Right, darling. It did help you. It was going to tell them about you. Everyone. They've taken you away from me. Locked you up. Pointed at you, laughed at you. I stopped him for you. He called me friend. But you're my wife, my beloved, and I love you. Haven't done, my darling. I never could please you before, could I? But now I've pleased you. I killed him, Linda. I killed my friend. To save you. And if anybody comes, I'll say he never came here. And no one will know, darling. No one but you and I. What is it, darling? What's the matter? Why are you getting up? What is it? Why go to the window? What do you want? Oh, I could only understand you. If I could only know what you're trying to say to me. Oh, oh, no. Linda, Linda, stop. I beg you to stop. Linda, be loving. Coming, I'm coming. Mr. Taylor. Oh, thank you. I found this note saying you wanted to talk to me. See, I hope you're not going to quit taking milk from me, Mr. Taylor. I know I've been kind of late with deliveries the last couple of days, but you see it's my fault. Oh, no, I'm not going to stop taking milk. That's what I want to see you about. I want milk, more milk, cream, everything. Oh, sure, sure. How much do you want? Four bottles of milk. No, no, no. Six? Yes, and cream. Six bottles of cream. Is something wrong, Mr. Taylor? Wrong. Why do you think something's wrong? Well, why? You only meant... You meant what? Well, don't get poor, Mr. Taylor. I just meant, well, you don't look too good, but you know how it is. Sometimes a seller has a couple too many and he starts storing all the milk in the world. Oh, I'm not drunk. You want to tell me that milk or do I have to get another milkman? No, no, no. I'll get it for you. I'll get it for you. Six, four, six, cream. Only him and his old ladies. A guy's left. But you haven't eaten anything. You're hungry. You must be hungry. Darling, what do you want? I'll get you anything. Anything. No, I can't let you out of the room. I can't. Someone might come to the door. They'd see through the window. Oh, be patient, Linda. Darling, I'll think of something. Milk's your own good, Linda. Please. No, no, no, dear. Don't do that. All right. All right, dear. All right. I'll let you into the dining room. But you've got to stay away from the windows. Someone should see you. Let me carry you. Okay. All right, darling. All right. I won't. Go yourself. Go yourself. You see, my darling, you're a pretty living room. Everything in it's just the way you fix it. This horrible thing that's happened to us. I tell myself it isn't real. I'll wake up soon and everything will be the way it used to be. You and I. Good morning, Mr. Taylor. Early again this morning, ain't you? Morning. Thank you, wife, to the country. My best customer every morning for the last three days you've been. Like I was saying to my wife this morning, I said, yes, yes, time is another time, I'm going to hurry. My orders, please. Yeah, yeah. How about a nice steak. What you can boil or nothing like that. But to boil a steak? I tell you, that's nothing. And my wife, she goes to the country. That's what I always make for myself. the steak in the pan, and then you light the... I'm in a hurry, I tell you. Sure, you're all right, all right. You don't have to get too high blood pressure, Mr. Taylor. If you'll please tell me what you want, my guy here. I'll give it to you. No, exactly. Over a couple of pounds of liver. Yes, that's it. Fast liver. But again, you hurt me. Sure, sure, I hurt you, but that's fine, darling. For three days, ever since you arrived, you went away, you eat nothing but liver. Are you going to fill my order? Sure, sure, sure, I will fill your order. There. Did you ever see that nice red liver, huh? Oh, two pounds? Yeah, well, there we are. Finally, it could be you was raising a cat or something. Why do you say that? Well, every day you buy liver. This morning I kept a couple of mouses in the prep. Maybe you like to take them along for the cat, too, huh? Don't say that! Don't say that! Mr. Taylor, the liver you forgot. Darling, that man is for it. Now, what did I say that was wrong? Cats like to eat mouses. Dear Miss Linda, you can't leave me now. I'll keep you here. Just you and I will die. They'll go away. Right, all right, I'll answer it. No, no, stay here, my beloved. They mustn't see you. Be very quiet. Yes, yes, I'm coming, I'm coming. What is it? What is it? Are you the owner of this building? Yes, what do you want? Geregan is a name. I'm your neighbor. I've got that place across the alley from here. Neighbor? Yeah, Geregan is my name. I'm with the department. Department? Yes, I'm this sergeant at the third district station. Yes, I'm off duty today, so I thought I'd drop over and speak to you. Mind if I step in for a moment? Oh, no, no, not at all. Not at all, thank you. You've got a nice place here. Yes, yes, nice. Very nice. You know, the same contract that's made this place has made mine. You didn't know that, I bet. No, I didn't. Yeah, Irishman by the name of Gil Hooli. He put up all these bungalows along here on nothing but Blarney and the two streams. Jumped out of the starry window, they told me the day after the stock market crash. Lucky for him, if he was alive now, some of the people around here, the barred place, he thought he would murder him. What was the trouble there having? Apple. Saying I'll stick in the trouble reminds me why I come over. If you don't mind, I'll tell you. No, so it isn't me that's complaining, Mr. Taylor. I am the kind of man that can sleep in a boiler factory. But it's big daddy. And there's a light sleeper for you. I always say that if a star and heaven twinkles too much, the noise wakes up big daddy. What is the trouble with? You know how the women are. Always finding something to make her first about. Say, I'm not disturbing her, am I? Yeah. You know your Mrs. She's not sleeping in the bedroom, is she? No, no, of course not. There's no one in there. I thought maybe she and the door is closed. Oh, no, no, there's no one in there. My wife, she's out of town. Oh, well, that's fine, that's fine. I always like to talk things over man to man without the women around. The women are all right, I guess. But they don't know how to sleep in our little troubles with neighbors without calling names and pulling hair. What is it? What's wrong? What do you want to tell me? Well, to put it plain, it's a cat. Yeah, it's a cat. You just got it, didn't you? You heard a cat? Yeah, started it two nights ago. Oh, it ain't just a mean one, like I said. But Mrs. Katie, when you see our bedroom window, it is right on the alley. And by golly, she hears every me all that animal makes. You know, you're wrong, eh? I have no cat. What, what did Katie hear? I heard it too, but that matters. I have no cat. But I'm telling you, it's come right from this house. I tell you, I have no cat. It's not suffice for a child in our scene, if you put it so plain. I'll just speak it up plain myself. I'm telling you, I heard a cat yelling last night and the night before. And the night before that. And the foolish me name is Thomas Kerrigan. They come right from this house. Now, what do you say to that? Get out. Now, wait a second, maybe go, wait a second. Don't get on your high horse. Get out. Still no, yes. I'm not saying you're lying. I'm just thinking maybe the animal's caught in the cellar without you knowing it. Now, if you let me go down. I tell you, there's no cat here. Get out. Get out of here. Oh, it's like that. If you hurt me, get out of my house. Yes, you are making a lot of noise about nothing, young fella. But it's your house. And if that's the kind of maybe you want to be, I get. I'm just a little. Just a minute. Take it easy. No cat, eh? Well, what was that? I used to hear him. Stop it, you dog. You've got the whole life. You may not be a liar, but you sure are something close to it. But that ain't a cat in that bedroom there. I ain't never heard one. Get out. Get out of here. Come on, high horse. Listen to that boy. That ain't creating a public nuisance. I'd like to know what it is. It's none of your business. This is my house. Get out of here. Now, stop pulling that thing, you bookhole. I may be off duty, but I'm still an officer of the law. And I'm telling you, that cat you got a minute to buy a reason to serve the ordinance. Now, if you don't make it shut up, sir, be me Katie. Are you with her? Stay away from that door. Stay away from that door. That ain't no cat you got. What? Oh, I'm sorry. Yes, sir, I lied. It is a cat. Just a cat. But I'll make it be quiet, but go away. Go away. Wait a minute. Make it easy. Just a check. What are you getting so excited for? No, I'm not. I'm not. Look, actually, your eyes are pleasing. What's going on here? I think I'll have a look. No, stay away. I told you. I told you to go. Big one. If I only had big one. Never use it. Never. Keep away from it. Go, didn't I? I asked, didn't I, Linda? You heard me. You heard me ask him. Linda, what's the matter? What are you going to do? Linda, keep away from him. What are you going to? No, no. Bloody my eyes, I'm sorry. What is it matter? You've cast an animal. You've taken everything from me. My eyes, my life. Now I'll take. I just love it, I've asked you. I've got it with you. This is Arch Obler bringing you another in our series of stories of the unusual. And once again, we caution you, these lights out stories are definitely not for the timid soul. So we tell you calmly and very sincerely, if you frighten me easily, turn off your radio now. $7, $5, $6, $3, $4, $5, $6. That's what's wrong with the world today, money. What are you talking about? Say look, Tony, ain't that the Pollywood? That a devil with a body. What do you say about money? Hey, you said that money was what was wrong with the world. Fellers get a lot of money, and then they want more of it. They get that, and they want more, and for the soon that's all they think about is money, money, money. What do you think about it? Money. So what are you talking about? You don't understand, Tony. You don't understand yourself all the time you talk. Go away, let me alone. No, no, Tony, don't get sore, I was only talking. That's what's wrong, it don't make no sense. Money's what's wrong with the world. You're fully crazy, you know. No, by him, I ain't crazy. Tell you what ain't right, a man who works hard with his hands and don't think about money all the time can't have a good one to have. What do you want to have, eh? A farm, Tony, a little farm. What do you say? A little stock farm, some place good like this, constant or maybe Minnesota. Please. Ha, ha, ha, ha, ha. I say something funny, maybe. Funny. Ha, ha, ha, ha. That's funny. He's not funny. For 13 years I work on the ship, and I save my money for a farm. I don't like the money, I used to want a farm for my wife and my kids, and then yeah. I know, not in 29, the bank she's go busting you back where you start. Eh, I'll tell you, Tony, at the end of that, I work so hard, and my wife and my kids, they wait for me to bring the money to buy the farm so they could all be together. Oh, shut up. I don't know why a smart guy like me waste time with a don't buy like you. Just because I work on the same ship what do you mean I gotta listen to you shut up your mouth all the time. But I work so hard. So what? It'll work to make money rich, it's a break. Yeah, a break. Oh, I'm the best deep water diver in the whole Pacific. So what? Never get a break, so I'm still eating a ship, a slap, and a walk in the docks. Yeah, Tony, that's what I say. Someday when a man works hard. No, shut up. You don't know what to talk about. Gotta get a dough, big dough. You can't get a big dough with a work. Someday the break, she's gonna come my way, and then Tony's gonna be a big shot. Tony ain't gonna take nothing from nobody. I'll grab that dough anyway, I can get it. No, Tony. Money, but they in the honest don't make a seller happy. You're wrong, kid. Tell you, when I get a chance, I'm gonna get that dough if I have to make the dough on my bar. I tell you what. Move on, move on. No bumpin' around the door. Yeah, yeah, officer, we go, we go. Fat, well, it's- What's that? What's that you said? No, officer, he don't say nothing. This is Mr. Tony, officer. He's the best deep-rooted diver in the whole Pacific. Yeah? Well, if he said what I think he did, he's going to be doing all his diamond in the tank for about 30 minutes. No, no, believe me, officer. Tony, he don't mean nothing. What he says, he's a good man. Shut up and get out of here, the both of you. Come on, Tony. Tell that big-mouth diver friend of yours to get a job and dive out of town, or I'll run him in. I'll cut that to size. No, Tony, please, you come this way. We don't have no trouble. We'll shove it in the mirror, Tony. It's the best man we'll ever put on a dive in the ring. We go have something to eat. I'm going to shove it in the mirror. Yeah. Man, the she's don't make no difference, eh? What I didn't say that, Tony. I said the gorgon, right? The devil will work. Man, that's what you got to get. End the all the way about Gary. Gary and me, they eat out of your hand. They kiss you feet. Come on, Tony, in here. We get cup of coffee. That's what they say, dog eats dog. I'm telling you sweet, me, I'm going to be the big dog. Yeah, sure. Come on in, I pay. It's nice and warm. This is a dump. What are you going to have, boys? Two cups of coffee. Really? Maybe you like soups, eh? I got a nice hot soup. No, we just want coffee, please. I'm going to get the lead out of your pants. Okay, okay, two coffees. Yeah. Sorry, what, go for us. Get to your farm, eh, sweetheart? Yeah, my wife, she won't. Who cares about your wife? Your farm. For 13 years, I have... Okay, here you are, boys. Nice coffee. Here you are. Yes, yes, please. Yeah. Yeah, coffee, she's good when you're cold, eh? Yeah. You know, that guy was willing. He don't drink coffee to not a picture, eh? What guy? Well, the guy was willing to sweepin' steaks. You know, the seller sweepin' steaks. What's the matter? Don't you hear it? What's this guy blowing about? What I'm telling you, the seller sweepin' steaks. Everybody is buying tickets. $50,000 first prize, you betcha. He's in the papers, he's winning. Yeah, boy, he's like a guy. So, who cares? You must smoke off. Okay, okay. No, no, wait a minute, master. Yeah? The seller that won, you say his name? It's in the paper? Oh, yeah, sure, sure. Here, I got the paper here. You get my coffee. No, wait one minute. I want to hear it. See you, big master. Okay. You say a winner first prize is, uh... somebody who'll give a lamb of, uh... Farmer. Farmer. That's my sweatshirt. Tony, quick, quick. He's very sick. Tony, come on, quick, come on. Hey, crazy square hat, wait for me. That's my... Wait, you crazy fool. That's right. Where you going? Hey, listen, it's me. Me? Me what? What do you say? Farmer, that's the name I gave the man when I bought the ticket. I'm rich, Tony. I can get the farm. Yeah. You mean you? Yeah. What is he saying there? You. Yeah, Tony. Me. I bought the ticket a long time ago. I mean me. I mean... Yeah. Yeah. Where's he now? You know, I tell you. I mean, look. Farmer, that's me. Tony, me. For my wife, my kids, they'd be so happy, so happy. No, no, no, no, wait. You ain't right, huh? I mean, look. Give a number here. Yeah. A ticket and numbers there. Six, nine, three, three. You got the number? Yeah, yeah. I gave the informer. I know I did. How did you take it? Where's he taking you? You don't get a money without the ticket. Yeah, here. I put it in my pocket. No, shit. No, there. Wait. Hold your box. What am I doing? I feel lost that I'm a cook. One more. I got it here. I got it, Tony. Let me see. No, no, please. 13 years, I wait. It's Mario. I ain't gonna hurt it. Six. No, three. Three. Just like I said in the paper. Yeah. Yeah. You did well. Yeah, Tony. I waited for my honor. $3,000 and we've waited so long. $3,000. I quit the seat, Tony. I performed. Well, my honor, my kids and me, we've been the happiest people in the whole world. $3,000. I've had the best farm in old Minnesota. Come on, Tony. I go get my money. No, no, no, wait. Huh? Don't go now. It's pretty late. But my money. Yeah, but no. I tell you what, I'll be close now. You better wait till tomorrow. No, I can't wait. 13 years, I wait. I got to get money. But they're gonna be close at that. Oh, come on. No, we go undone duck and see what is the first about it. Boat? True. So I have to wait tomorrow quick. When you get the door for the ticket, you catch a boat to home to your wife and kids. Yeah. That'll be good, eh? Yeah, Tony. Yeah. Oh, my friend. They're going to be so happy. I've worked so hard. And now, $3,000. $3,000. Well, Nick, give you what you need, Tony. You are my friend. I want you to have something, too. Yeah. Well, come on. Let's get down to the dock. Yeah, sure, Tony. Anything you say. We go look at the ships in the water. Then I get my farm. I won't get to see such things again, eh, Tony? No, of course not. That policeman, I wish we'd meet him now, huh, Tony? Huh? What's the matter? Why you want the car? Well, I'll show him we ain't no bombs anymore. $3,000, that's the ticket is for it. Well, give me an airman's no bomb with $3,000. No. Well, you bet your life is, now. The boat will show you 40. Yeah. She's deep right here. I don't care how deep the water is, as long as I'm on top. You, eh, you'll swim? No, that's a funny thing, eh? Yeah. 14 years of sailor and I couldn't swim. Well, as plenty of other fellas like me, in any way. I mean, you don't have to know how to swim, to walk a farm. Oh, that's why she's so dark and pretty. That's funny. Yeah? Eh, but let me look and take it. Take it? Yeah, it slips there. Oh, well, you didn't think maybe she ain't good, Tony, huh? Yeah. No, she's good. Right away, when I had that sort of, say, the farmer win, I know that's me. Hey, Tony, there it is. See, it's a farmer on it. That's me, you see? Let me know a little bit, Tony. I can't see. Not sure. You see the numbers? Let's say six, nine. Funny what? My knife has shot you up good, nice one, Tony. So you can't swim, eh, squared? Well, thank you for the last thing. There. What? What's the need? You forget the sweepstakes, do you? Oh, okay. I collect for you, farmer. $3,000. Eh? Yeah. The last night, get a break. We're making fun. Tony, you ready or what? Shut up your mouth, eh? Freakin' over. Excellent, pal. He's got it going. Sure, sure, sure. I'm a great guy. Got 20 dough and a half spent. Good job, boys. You can make it. Go and have some noise. Wake up tonight, eh, Tony? Don't you worry about the price. Tony is all right, eh? So now you go home and let me go up the stairs, eh? Maybe tomorrow night we go have some more fun, eh? Tony's a great guy now, eh? Sure I'm a great guy. Everybody knows Tony is a great guy. There he is. Tony, is that you? What's the matter? You waiting for somebody else? Oh, Tony, I've been waiting for you. Let me help you. Hey, boy, don't need no help. Not me. Oh, Tony, Tony, night after night. Go ahead, me. I'm all right. Great guy as me. Yeah. Spending all your money on those drunken fools. Shut up your mouth. Oh, careful. Eh? Eh, Tony, I don't need no help from nobody. Tony, he takes what he wants. Let me shut the door. Yeah. I'll come here and give a great guy a kiss. No, I... Come here, you come. No, no, no, wait, Tony, listen. Don't want to listen to nothing. But, Tony, the man said that... Hey, man, what man? The man that was here. He's been here a dozen times since midnight looking for you. Midnight? Who was he? What did you want? I don't know. He wanted you. Oh, Tony, I was so afraid. Afraid? Why? Why was you afraid? Well... Well, answer me. Why was you afraid? Well, he was so strange. He acted so funny. What? You mean funny? He spoke so funny. As if... As if what? As if his mouth was full of water. You... I think that makes joke with Tony. No, Tony, no. I'm not fooling Billy. I'm not. He said that... Yeah. He said something. Yeah, yeah, that's what I'm trying to tell you. He said, tell him... What? What did he say? Well, I couldn't hardly understand him. He talked so funny. But I think he said, tell him... Tell him I was here. And then I think he said the farmer. The farmer? Yeah, that's what he... Tony... Tony, what's the matter? What? What he looks like. What's the matter, Tony? What he looks like. Well, he... He was tall and... And he looked like a sailor. And I... I think his clothes were wet. Oh, Tony, that's him again. That's the way he knocked before. No. Tony, what is it? You... You answer the door. I'm scared, Tony. I don't want to go away. Tony, don't stand there staring at the door like that. You scare them. They don't do it. You go away. You bet. What? Bet you hit me dead. I killed you six months ago today. Oh, Tony, don't. I tore you in the water. A thousand miles from here. You bet. Tony, Tony. Scare my wife, but you don't scare of me. You find me like you do again. Oh, Tony, don't. Swanson, go away from the door. Shoot. Tony. I don't want to shoot you. Shoot him through the door. Tony, get up. Tony. Open up. Open up. Open up. Tony, I don't want to kill you. What's him, Tony? Him. Open up, Tony. You swanson, you... You think you got me, huh? You think you got me hot six, huh? No, no, not me. Swanson is quiet. You forget the fire escape, bitch. Listen, Mike, you got to help me. You got to help me. Oh, take it easy, Tony. Take it easy. Wake up in a town. You shot me down like a dog. Well, you killed one of them. What do you expect? I'll kill him all. Nobody can stop me. Nobody. Oh, Mike, you're my friend. You got to get me out of town. How much dough have you got? I ain't got nothing. You're lying your teeth. You won the sweepstakes in Frisco, didn't you? No, but I'ma tell you, Mike... No, no. Listen to me, cop killer. They cut every road, every depot, every dock in this town covered. If it's free, you want to get, and it's money, it's going to cost you every cent you got. You... You'll get me out. So far out, there ain't a cop in the world can get you. Listen, at midnight tonight, the SS Provost is pulling out to go down through the canal and then over to the coast of Ireland to go hunting for gold. Gold? You're crazy. Now watch your tongue, me bucko. Gold, I said, and gold it is. Only they're going under the sea for it. What? You heard me. Under the sea. A million dollars in gold in the hold of the tongue you're sunk by a sub, and these boys are going there to die for it. Dive? Yeah. And if you decorate the mahogany in front of me with every cent you got in your pocket, you'll be on board that ship. You hear that, Swenson, you? Diving for gold. A million dollars. And me, I'm going to be on the board. Oh. You want to talk to me, Captain? Yeah, Tony. Sit down. She's getting pulled off outside, eh, Captain? Yeah. That's what I wanted to talk to you about. Yeah, I'm going to sit down. While you were sleeping before, the rest of the divers had a meeting. Yeah? Yeah. They looked over the weather reports and they decided they ain't going to do no more diving. The white, I mean, black... Wait a minute, Captain. You mean we're going to turn the back? Well, what else can I do? Three months out here in the open sea. Now, when we finally do locate the wreck, every mother's son of them turns chicken on me. So that's why you want to talk to me? Because even if you are no good rat, you're that best diver of the lot. Keep talking. Tony, listen. Under that buoy off the starboard, there's a tanya with a million dollars and gold bullion in it. So? Go down and get your looks into it, Tony. And whatever you get, half of it's yours. You... I mean... Sure. You get half. And I'll split the other half with the crew. A million bucks? Yeah, Tony, a million bucks. And you'll have half of it. You can do it, Tony. You can do it. You know you can. See if she's getting her off. But you've never get the fins. Now tell me you've gone down in rough water. Yeah, but by the water she's called. Well, now I'm a finish. You got the room with the gold. Who knows where she is? Tony, Tony, listen. I know just where that gold is stored. You're kind of fooling me, aren't you? Oh, no. As God is my judge, I'm telling you the truth. Jake located the room on his last night yesterday. He told me only me about it. Don't you see, Tony, it's a chance of a lifetime. I got cold enough for one more day out here. If we turn back, we'll never locate the wreck again the way that sea's running. A half a million dollars in gold for you, Tony. Right under your feet. Don't be a fool, man. Take a chance and go down and try to get it. If you win, you've got the world right in your hand, Tony. Well, what do you do it? I get away from him. Tim, who are you talking about? Who's talking to you? Why are you sitting there for? Get to me already. Get the parts of God. Ready, Tony? Yeah, give me the house. Here you are. Why do you stand there for? Give me the house. Okay, okay. The captain. Yeah? What's the matter, you? I call you to keep me dead clear. Only the men I want. You're left to go if they're wrong or I don't die. All right, Tony. Hey, hold up, Tony. What's wrong with the phone? Hello, hello, hello. Well, why aren't you asking me? Okay, Tony, I hear you okay. Hey, the bounce. Okay, I'm ready. Put the handle down here. Okay. Hurry up, you mugs. Hey, get them parts of time. You think I've got all day? All set, Tony. Okay, put them all outside. Watch that pump and come up and party hard out here. A million dollars. Half a million dollars. Me. What a call. Down, down. Half a million dollars. All right, Tony. I'm sure I'm all right. Let me alone. Okay. Down, down. What a call. He came to me, Tony. Best time. Fifth day still. Half a million. Half a million. Listen up there. I'm on the button. You hear me? Tony, listen. Captain says hurry up. Squall coming up. Tell the captain to take me off before I give a signal. I call his order. What, Tony? Shut up and let me know. For a million. Sir Goro is inside the door. I beg you. Half a million. The door he can't contain. A million a captain. Fifty-fifty. What does he say, Art? He says to leave him alone. He don't want to talk to nobody. No good rat. I was a fool sending him down. He's on the bottom all right. What's he doing? Has he found the gold? Has he found the strong room? How long is he going to stay down there? Talk to him, Art. Talk to him. He said he'll be right over there. He found the cheap gold. A room full of gold. And rich. All the money I want. Me, Tony, rich. Rich. Yeah. All the money you want. Hey, Tony. What's he talking? Tony, what's he talking? What's wrong, Tony? Anything wrong? You out there. I told you I don't want to talk. It's not your own listening to me. All you need is all the money I want. What do you say that for, eh? I didn't say that, Tony. I've been standing by up here. Standing by up here? Where did I get up there? I saw you standing by up here. Why did I get this headset connection with my feet? I think she saw you don't bother me no more. Oh, here you go. Wait, Tony. The captain says that... So, I'll talk. I'll talk all you want. You selfish... I want you. Me, I'd be alone with my girl. No, Tony. Not alone. You out there. You stop talking to me. Stop it. Don't hurt Tony. With you. Oh. Who says that? I look the next. Nobody can talk to me. Nobody. I will talk to you, Tony. I got much to talk to you. Listen, my head, that's why it is. My head. Not in your head. Look. Look straight ahead. Excuse me. You know me, Tony? Me and the water almost a year. No, no. Go through the window in your helmet. Oh. You don't like what you see, Tony? My wife, my children. They wouldn't like it either, would they, Tony? Wait. Go ahead. No. Don't stay and hurry, Tony. We got plenty of time. Plenty of time. I worked for 14 years. You remember, Tony? 14 years for farms. Now I don't work no more. I used to wait for you. You. My head. My head. You take away my wife, my kids, my life. Now I take a little air. I don't need air. I use to do a lot of air. Now I take off your helmet and come in with you, Tony. My friend, I can win. No, no, no. Listen. Take him up quick. Take him up. He's there. Is he getting air? Yeah, sure. Plenty. Everything's OK. Talk to him. I talked to him. He don't answer. Just yelling. Sorry. But he's yelling, Captain. He's still yelling. Call him in quick. Call him in. No, no. There's no time. Nothing must be wrong. Getting bloody murder on the phone is signaling OK on the lifeline. He's not there. It's not him. It's something else on his line. Captain, look. His airline, it's been tuned through by teeth. What is it? What's tied to the lifeline where he was with its mother in heaven? It's a bar of gold. Is later. This is Arch Obler bringing you another in our series of stories of the unusual. And once again, we caution you, these lights out stories are definitely not for the timid soul. So we tell you calmly and very sincerely, if you frighten easily, turn off your radio now. But, Goddard, answer the phone, please. Yes, Mr. Obler. Yes? Oh, yes, Mr. Harrison. Here he is. Mr. Obler. Yes? Mr. Harrison. Oh, oh, thank you. Hello, Joan, how's the family lady? Oh, yeah, how am I in trouble? It's all the last lights out. I just don't know what to write about. Oh, no, I got plenty of ideas, but... Oh, well, men dying in fox holes and what am I doing? Thinking of fantastic... Well, thanks very much, but I still insist that I ought to be... Yes, OK. Sure, I'll make this last one a good one, and then that'll be last. If I did through it. Huh? No, no, I was just talking to myself. I've been doing that rather consistently these last few days. Yeah, I guess all those zombies and ghouls and lucrues are finally caught up with me. I know, I know. Two aspirins and a glass of water every half hour. Look here, Mr. Harrison, don't worry about me. I'll get the story written tonight if I have to talk to the devil himself to do it. All right, all right, sure. Oh, fine, fine, call me back in an hour and I'll have some kind of a plot figured out. I hope. Get my regards to Norman. Talk to you later. Well, we've got it. Let's get to work. Yes, sir. What time is it anyway? 11.32. Sorry, I have to keep you worky so late. That's definitely all right. I know you have to have that play done by tomorrow morning. I'm glad to help. You're an angel. An angel? That's a strange word to use here in this room where I've thought up so many demons and monsters. Tell me, or maybe you won't want to tell me. Not this over. Working with me on these lights out plays, do you ever get frightened? Well... Do don't you? Yes, I do get frightened many times. There was a time I'd have found that very amusing, but not tonight. Is there something wrong, Miss Ogre? I don't know. Tell me, did you ever sit alone in the room at night and have a premonition? I mean, suddenly get the feeling that somewhere in the house, perhaps in the darkness, in the next room, something was waiting, something of malignancy and evil. Ugh, what's the matter with me? If I keep on talking like this, they'll be using me as exhibit eggs from the psychopathic war. Come on, let's get to work. Yes, sir. We'll start out next week's play with the regular lifestyle opening, lifestyle everybody, chimes, play or fame, you face gone. The first character is named Helman. Call him Helman. Jack, Helman, H-L-R-M-N. Two out, got it? He commits a murder and he... Oh, what's the use? I can't write another one of these things, ghosts and groans and blood. I can't do it, I can't do it. Mr. Ogre. I'm sorry. Look here, Miss Goddard, you better run along. But aren't we going... No, I just can't write any more tonight. That's okay. They'll be scanning by. The rehearsal. I'll settle with the rehearsal. I'm not going to go insane writing these things for anybody. I'll run along, please. Try to get some rest. If you come back early in the morning, we'll see what we can do. What did you say? Are you sure you're all right? Please go. All right. Good night. Good night. What's come over me anyway? Why did I tell you to go away? You gotta write this play. Premenation. She must have thought I was getting something... Who? Who's there? I am in bad shape. The wind rattles the window and I... Lights out, author goes nuts. There's a headline for Variety. I gotta get down to Earth. Quarter to 12. The only thing she'd call back in an hour. I gotta have some kind of a plot by then. Let me see. How about a... Press agent named Black, killing a man named White, and Black and White murder... Oh, dead corny. Maybe I could use a story about a Hollywood producer. Let's see, Johnny Auer. He meets a girl and I'm afraid because the girl's husband... Oh, is that out of character? How about Nero chopping off heads in the Roman circus and... Cirquey is quiet in here. Yell all day for quiet. Now that I've got it, I... I have got the jitters. What the devil have I got to be jittery about? Things are what they are. If anybody knows that I do, two and ten makes four unless you're talking about curved space. And then the head, hold on to what they've got. And anybody who's in this war for profit, all of his bones broken off and stuff. What the devil am I talking about? Ah. Okay. I better stop kidding myself. I know what's wrong. I want to write it and yet I don't. What's the matter with me? I'm afraid to put it down on paper? What have I got to be afraid of? Here goes. Get over with it. Outline of title and decided out of my system. Play opens in a cell of a monastery in the Middle Ages. A mystic is cowered in a corner of his room. Outside a mob is clamoring for his life. It appears that a horrible crime has been committed in the village below. A horrible monster had torn a woman up. It appears that this creature brought into being through the incantations of the sorcerer was the concentration of all the evil and men's hearts and minds. A tremendous force of fiendishness and insurmammity put into living flesh to roam the world and commit unsthinkable h- of all the drivel. A tremendous force of fiendishness and insurmammity put into living flesh to roam the world and commit unsthinkable h- Well, drivel and out there it is on paper. My own monster conceived in my own mind. Congratulations, Papa. Have a cigar. Conceived in my own mind. That's what that crazy monk said in that book. Matt Wolf gave me. Oh, and who gave him that book? Conceived in... What was that book anyway? It ought to be... I even marked the page. And I say unto thee that if thou shalt be evil and do evil and think evil, and let thy mind rest upon this evilness in the light of day and in the darkness of night for seven days and seven nights, there may come into being a thing of evil and it shall take the form of the evilness of thy thought. Written by a hash-dark mystic more than ten centuries ago, and I... Funny, I should have thought of those words tonight. I've been thinking about them for a week. Shall take the evil, the form of the evilness of thy thought seven days and seven... Who? Who's there? No, no, no! No! Who's there? You. You in my mind. You just in my mind. No, no. You don't exist, I tell you. I thought you were a dream. I thought you were a dream. When I wake up, the door, it is a dream. It's got to be a dream. Come in, come in, get me out of the stream. Get me out of the stream. Well, don't you have open doors anymore? What's the big idea of sitting in your old room? It's not a dream. Hey, Arch, what's cooking? Eli, get out. Can't you see? Can't you see? Get out of here. Hey, what are you looking at? Hey, see and hear what? Behind you. Look behind you. Well, there's nothing behind me but the wall. Eli. Hey, what is this anyway? A preview of... Eli, get out of here. All right, all right, now let's have it. What is this, a preview of a new play? Why am I glad your quitting life's not after all? Can't you hear him? Oh, hear who? Eli, behind you. Behind me what? What's the matter with you anyway, Arch? Don't you feel well? What's that dream? What's that dream? What's the matter? The pink elephant's beginning to get... Help! Help! You think to my brother? No! Operator, please. Please, right away, my brother. Please, please, please. My brother, my brother, my brother. How much time we got to go on the ship yet, you? Oh, hold it. Here comes Frank Sinatra again. Squad 39 and 48. Squad of Enchor and Radwood. Drunk making a disturbance. Flames his brother, et by a monster. Squad 39 and 48. Squad of Enchor and Radwood. Squad of Enchor and Radwood. Stay as easy as I can have. I tell you, it's true, officer, it's true. I brought my own brother, I thought I'd thought of my own. All right, all right, so here we are. Now take it easy, uncle, you're in a bad shape. I tell you, I'm not drunk on the sober as you are. Now don't get funny. I had a poor look at that behind you. What? Oh, I've heard of a scene of snakes and pink elephants, but this is the first one I've seen this bad off. Hey, Joe. Oh, you never can tell in the valley. There, this is a clue. Can't you see him? Can't you see him? Hey, hey, maybe we better take him down to the station. Let him cool off in the can for a while, eh? Yeah. Now that's tearing me to two of you, why won't you believe me? Hey, Clavitz, maybe this guy's on the level. Oh, are you nuts, too? If something happened to his brother, there'd be someone around, wouldn't there? And there ain't nothing in this room. Joe, John, what do you mean? I thought of the murders. Seven days and seven nights. See, Joe, the guy's nuts. Let's find out who he is. What's your name, young fella? Yeah, what's your name? Quiet, John, now, what's your name? Oh, there's a name. Thank you, sir, for grinning at me. Why don't you see it and help me with it? Over there. Watch your business. What do you do for a living? Well, radio. Radio, what's the deal? Radio. Say, ain't you the guy that likes them screwy, light-out things, too, tonight? Yes, help me. Please, please help me, Joe. This is the guy that likes them ghost things I was telling you about. You know, over the radio, over there, the guy who always makes his cops Irish. You get it? It's one of them gags. One of them publicity gags. Now, wait a minute, fellow, watch your tongue. I tell you, it's not a gag. It's here, here in the room. It has took my brother in it. Hey, can't you hear it? Can't you hear it? It's laughing. An infernal laugh I've listened to. It is later than yours. Okay, young fella, if it ain't a gag, you better take a roll and go back to bed. Now listen, you're going to hang around for a while, so take it easy. Come on, Joe, let's get out of here. No, no, wait, wait, don't leave me, Joe. It's here, I tell you, here, don't leave me. Little like, too, well, I do. I got to get out of here. I got to get out of here and find someone who'll believe. What? Oh, it won't? Let me out? No, no. Don't come near me. No, please, come back. Come in, come in. I was just driving by and I thought... Son of a... Get out of here, get out. What? Son of... What are you doing? You got to get out, you got to get out. No! No! No! Oh, no, oh, no. What's going on here? Is that the way to act? We heard you screaming all the way down in there. Oh, no, where did she come from? She perked on her. That thing in the corner there, won't you look at it? Won't you believe me? Give me that gun. No, wait for me. The gun, I'll shoot it, I'll shoot it. No, no, no. There we are. There we are. Let's have a stop. You've got to come and feel that. They'll burn you forward assured. My name's Clarence McMinser. And I'd like to be the guy that pulls the switch. Right in here, sir. You've got five minutes. Yes, I know, I know. Oh, it's him. I'll be waiting for you. I got here as soon as I could. Looks bad over there. Pretty bad. What do you mean? I didn't do anything. I tell you I didn't. But over there, you can't do a thing like that and just walk away from it. Well, I'll explain it to you. I'll explain it to everyone a hundred times, a thousand times. Won't anyone believe me? Now, look here, Arch. I'm your attorney. I want to help you. A great number of people want to help you and we certainly can't do a thing and that you cooperate. Yes, that's what I said. Co-op me. What do you want me to do? Tell the truth. The whole truth. I told you, I told you. Yes, yes, I know what you told me. A horrible thing that you conceived in your mind came to life and did a number of, uh, surely of things. But oh, see here, surely you don't think that even the most stupid jewelry on earth is going to be that nonsense? You don't believe me. Well, I've heard many peculiar alibis from my radio clients in time, but... Well, listen, if you want to plead temporary... But I'm not insane. I'm not insane. I'm not insane. Then let's hear a sane explanation of what happened that night. I told you. I told you everything just the way it happened. My brother came home and... Yes, yes, I know. Well, my brother came into the room and was beaten up by a monster and then a girl. Oh, what's the use, apparently? You want to die. I've tried so hard to make you understand... And I've tried to make you understand that if you don't stop this infernal nonsense and hurry up and tell me the truth of what really happened, you'll either find yourself taking a one-way walk to the electric chair or wake up in a padded cell in an asylum for the criminally insane. What? The fact of the matter is they've already appointed a lunacy commission to pass on your case. Lunacy? Oh, we see here, Arch. Wait. No, wait. Let me talk. Go right ahead. That's what I want you to do. Maybe I am insane. I don't know. First I told myself it was nothing but a nightmare that I'd wake up and find it. It had all been nothing but a weird dream that never really happened, but it's not a dream and no one will believe my story, not even you. It's such an irrational story. How can you expect anyone to believe it? Now, take that part about your brother being devoured alive by this monster. It happened. It happened just as I said it had. It's common knowledge that your brother is pre-induction vacationing up north with your mother. He came back. You and they are coming back. I sent your brother a wire to come back and bring your mother home at once. They ought to be here today. My brother dead. Well, that's your preposterous story. This thing, this monster who's supposed to have committed all these crimes. Where is he? Where did he come from? Where has he gone to? I don't know. Did the police see him? No. Did anyone see him? No. Oh, Arch. Arch. If you're going to think up an alibi to save yourself for heaven's sake, think up a better one than that one. I'm not trying to think up alibis. I'm just trying to explain what happened to you and maybe to myself. I haven't believed much during my life, except perhaps that somewhere there was a power that went beyond life and death. What happened to me isn't explainable any terms that you and I... but, Mr. Gang, I tell you what did happen. I thought of a monster for seven days and seven nights in my own mind. And like that prophet of the Middle Ages warned the evil thing came to life and yet only I could see and hear it. And do you see and hear it now? No. That's what I can't quite understand. Perhaps the horrible thing only has life when I think about it intensely. Intense? That's it. It only has life when my thoughts give it life. Like an idea. Don't you see, Mr. Gang, like an idea only exists when you think of it. Your thought gives it life. And that's the way it is with that... terrible thing. Listen. Listen. Listen, do you hear him? There he is in the corner. I tell you he's there. Don't you hear it? Scubbering and slobbering. I see him now. I see him. You think? I'm not afraid of you any more, you hear me? I'm not afraid. I'll kill you! I'll kill you! I'll kill you! I'll kill you! I'll kill you! Stop! I'll kill you. I'll kill you. He's gone insane. He's gone insane. You all know me. You're right. I've been crazy. I've had feelings for several years. Gentlemen, please... Please, Mr. Schmidt, put down that bottle. Are we a lunacy commission or a lunatic? And you too. I know how strongly you gentlemen feel about this matter, but after all we must come to a decision on his mental status. As chairman of this lunacy commission, I feel that it is incumbent upon me to, shall I say, summarize the facts that they have been placed before. First, it is an established fact that a murder and a very horrible murder have been committed. The police officer has testified very conclusively that our showbillers were there upon the scene of the crime and that it was absolutely impossible for anyone else to have committed the murder. In other words, the man whose mental status we are to determine is a murderer. Consider further facts. Does he wear conventional shirts? No. Another fact, does he participate in normal activities such as drinking, dancing, fraternal orders and similar beneficial social activities? No. I pile facts upon facts. Have you gentlemen ever listened to his plays? Yes. What are some of the distinctive features of these works? A voice. A strange voice. A whispering voice. Note that, gentlemen, always whispering voices. A voice. A voice. Gentlemen, I am of the firm opinion that we are dealing with a very definite case of dementia break-up in its paranoia for... No, watch. No. Don't say that, Salem. Oh, my... Don't say that. Don't say that. Of course you're nuts, Salem. I'm not excited for yourself anymore. Please, where does this need to go? If there was only some way I... I can make them see the things I see. Mother, you believe what I told you, don't you? Yes, dear, of course I do. Even I would only get back. Eli... But I told you, Eli, you're like the others you don't believe in. I know you don't. Thank you. I think of you. I give you life, I give you life. Do you hear, Mother? No, no, don't get so excited. It's right behind your tongue. See, believe. You see it, Mother. You see it, I'm not saying I'm not saying... No, my mother. No, not my mother. Not my mother. All right, all right. Salem? Oh, yes, John. Midnight already? Yeah, I've been sitting here very comfortably. And I finally brought up the plot line. And believe me, it's quite a brainstorming. I die. Sure, sure. It's my final broadcast, so why not? No, I'm not gagging. Listen to me. There's a monster that I conceived in my only bitty mind, and it comes to life. Honestly, I haven't had a coke in hours. It's going to be one of those, you know, crazy stories inside of a story. Now, listen. The way I've got it figured out is this. Now, I'm supposed to be sitting here thinking of this horrible monster. And suddenly I turn around and there he is. And my young brother comes in and this monster, he came up alive. And then Mercy McCarrimage comes in and... Wait a minute. Hold it for a minute. I think someone came in. I imagine it's Bernie Alsey who... No! No! No, listen! That thing! It's true! This time it's really happening! No! No, no, no, no, no, no, no, no, no, no! It is later. It's out to everybody. It... is... This is Archobler bringing you another in our series of stories of the unusual. And once again, we caution you. These lights out stories are definitely not for the timid soul. So we tell you calmly and very sincerely, if you frighten easily, turn off your radio now. I know. It's Diane I am, Father Donahue. I know all as I am. I'm not ready to die. I'm here. I... Come closer, Father, and hear my miserable confession. You know, Mary's a good woman in the village. Yet I... I've heard what you say. There's no finer old woman in all the islands and the withered in Elves. But that's not so, Father Donahue. And I find to meet all my old friends in the islands. And I find to meet all my old friends in the island of Paradise. And hear me out and pray for me. You know, my sons, Thomas and Patty, born on the same cold winter's night they were. And the first born Thomas was as good as an angel in Paradise. But the second, the woman named Patty was evil from the moment he took his first breath of God's good air. It was Thomas, that carried the load of the family on his back. Fishing from early to late. The Patty. Ah, that's right. Drinking and brawling and running from work as if the devil himself was pulling him away. I pray to the good God every night that some goodness come into the man's heart. But with every year he grew worse. Stealing what his crooked tongue couldn't talk away from honest men. Ah, with his brother Thomas. And it paid me for all the trouble. A good boy. And when it came to me with the words that he was the marry I've been, the heart can be sang for the good God always meant for the two of them to be together. Ah, how I remember the day the wind, the sun shining from the sky and the sea smooth as a baby's cheek. I was happy. Little knowing of the horror of what was to come. Ah, it was a happy morning. So... Ah, listen to the mother. Did you ever hear a happier sound in all creation? Don't they be happy Thomas. It's not every day that such a blessed marriage comes in the island. Ah, the prettiest girl in all a blast. It's waiting to be your bride as soon as the sun starts setting. My bride. Ah, mother, that's a grand word. Ah, that's great. It'll be a better wedding without you. Oh, now, mother, don't say things like that. After all, he's your son and my brother. Oh, there's a sorrow in my heart. He's drinking and brawling. Paddy, you did come. And why shouldn't I be here? It's an honest change. You said you're welcome at your wedding. Paddy, that's not the way to talk. There's food and drink and... Ah, wait a minute. I've got more important things to do than to be sitting in your belly. Listen to me, brother Thomas. Is your head that full of weddings Yes. Speak up Paddy. We're divulmentary up to now. Divulment nothing. It's honest money. I'm talking about. And may the next pipes and tobacco be at me on-wake if I'm not telling you the truth. I'm listening Paddy. I tell you what I have to say. Do you remember the house of a ship that was wrecked up in eastern abroad a bit ago? Well, but I went there yesterday to see if there was anything worth having. Listen to me, brother. In the bottom of a pool no deeper than this room is lying enough pots of copper and brass to make you and me the richest men on the island. You can believe your ears. Wouldn't you rather bring the brighter pocketbook filled with gold sovereigns than the empty leather you've got now? What Paddy are you? I wish your mother you'd talk to the man. But if it's in the sea, it'll wait until after the wedding. Ah, wait a minute. And with those innish boats sailing out around the place, I tell you it's now or never. And may my sword to the devil if I'm not saying through words. Thomas, it would be nice to have a bit of money in the house. Yes, sir. Then what do you wait for? You've got the boats big enough to handle the stuff and I'll be there to help you. In a few hours you can be back here dancing. Oh, it's Eileen. Let her have the word. But you stay or go. Stay or go where, Mother Dinelle? What's going on, Thomas? Well, you see, Eileen... Ah, you're at the day's short. Let me say it. Eileen has a fortune in brass and copper boats waiting for us in water no deeper than a man's neck over off Innes-Nabrol. And Tommy here thinks you'd be full enough to say no to his going. But must he go now? The sea doesn't wait. He'd be back in three hours, Eileen. He'd have it just for every day of the week. True. Do you want to go? We could build a new house with the money. Mother Dinelle, do you think Thomas should go now? I mean, with all them, I'll say. When we're so poor and Thomas's young as he is, they're worn and ready for work. Maybe this is God's blessing. A gift from heaven for putting our faith in him and watches over all of us. God's blessing is right. A hundred pounds. And we'll be the kings of the island. Come on now. We can take the side path down the cliff. Wait, brother. Eileen, is it your wish? I'd be a poor wife to you, Thomas. If I stood in your way of making a living before our marriage. My darling. There'll be time enough for that now when we get back. Come on, Thomas. Let's get out of here. Hurry back to me, my dearest. The sea will take me to our good fortune and the sea will bring me back. I'll just wait, Thomas. Come on. Get on, Thomas. I'm here to wed him, darling. God go with you. Thomas! Yes, yes! I'll be back in three hours, mother. As rich as a Yankee. Bye! Oh, Eileen. Oh, this is baby. Why should you cry? Thomas has told the sea so many times. Why should you cry this time? Oh, mother, Eileen. I'm frightened. Frightened? And tell me, why should you be frightened? I don't know, but... that door closed behind him. It seemed as if the waters of the sea were closing open. Oh, mother, Eileen. Oh, it closed. And soon, Father Donnie, Eileen and I left the dancing and the fiddling behind and climbed the long path up to the top of the cube so our eyes could see far out over the water. And all the time, Eileen kept crying that she'd never see Thomas again. That she'd never see Thomas again. Oh, don't... Oh, stop crying. I never say anything to you. It's just saying, girl. It's tempting the fiddler to do his paperwork. Oh, I haven't climbed a big path for a minute. It's a little too steep for me, old bones. Oh, now stop that, girl. That Thomas has found so much copper and brass he's taken the longer than they talk. Thomas wouldn't come back like he would. No, well, Paddy would if there was a shiller next to it to be made and he'd talk Thomas like he would with that sharp son of yours. Ah, the last two. And now we'll see them they're both weighed down with good fortune. Eileen! Eileen, stay away from the edge. You'll go over the cliff. Oh, Mother Donnell. To the west. I see that wind. Where did it come from? Out of the west where he was. But in all my years, such a wind has never been before. Look at it. It's falling and tossing before the wind. The time, Father Donnell, the wind was wilder and wilder. In a minute the sea was pounding at the base of the cliff. Then the girl shrieked and she wanted to die with Thomas and me frightened her back from the edge and praying to the good God to give me all the arms of strength to hold her back until she came to her senses. None of us got her wink of sleep till the light of morning. Ah, that wind. I can hear it now. No, let me talk. A boat, a boat. Your son's to the west. Wait, my son. Aye, aye, come on. Dead. No, no, the boat's coming and there's living hands on the oars. Come on. Oh, there's a scatter of money that's taken to her mercy. Mother Donnell. Eileen, the merciful God has brought them back. Quick. They're trying to get into land fury now. Oh, Mother Donnell, quickly. No. No way, child. You're sure. You're sure there. Now give me your arm. Eileen, Eileen. Eileen, Eileen. I can hardly walk. Yes, yes. Lean on me. Yes, I'm moving fast as I can. It's hard to get against this wind. It will. Let him live. You've let it for the life of one. And I've let it for the life of two. Come on, Mother Donnell. Good neighbors. Good neighbors let us through. My son is dead. Let us through. Come on, Mother Donnell. Let us through. Come on, Mother Donnell. Come on, Mother Donnell. Oh, I can see nothing. The waves and the dawn. How easy you see. Oh, my finger. Bless the boat. I can see it. Praise God. I can see it. There's only one in the boat. You're aligning in good girls. Oh, which one? Which one? I know it. I know it. I know it. Yes, Thomas. The good Thomas in this. And beside everybody. Let the widow Donnell and the girl through now. Let them through with her, Mother. Oh, no one is dead. My son. My son. Which one? Well, well, I'm back, Mother. Are you? Patty. Stand right now. You, Patty. Yes. Yes, me. Ain't I got the right to live? Tell me. Tell me quick. Where's my son? Where's Thomas? Tell me, Patty. Where is my Thomas? Where do you think he is, God's woman? Dead at the bottom of the sea. Hi, Father Donnell. That was what he told me. The good Thomas was dead at the bottom of the sea. Dead. The good Thomas dead in Paddy. Paddy the evil from the life. Oh, it wasn't right, Father. And in the days and nights that followed, I tried to God. Why did you do it? Why? Why did the sea take my dear Thomas from the boat and leave, Patty? We did no reward on those forgiveness and sweetness of souls. And in the seventh night in my silence, there came an answer. I was lying on my bed, outside the sea was singing and whispering. My window was open and I could hear the sea talking again. They were crying. Crying for the love of God. I do not. Do not cry, Mother. I heard a voice. You heard me, Father. Oh, no. You know it's some whiteness in my really head. Mother, I am so weary. You must listen. Oh, dear God, what do you do with this to me? My son is dead. He didn't see me. Why do you bring me the memory of his life? Mother, Mother, believe me. If I could only see you, I would believe. Oh, no. The horror the sea made of me. Wind and wave and grinding rock against my flesh. I wouldn't care, my son. Just let me see that it is you and not my own life speaking in the head. Oh, Mother, you don't know what you ask. But if there is no other way, close your eyes until I give you a word to open them. I've closed them. And have no fear. I beg you. Why did you murder me? Murderer. The sea was calm. We reached the pool where he set the copper and the brass lid. I stripped off my clothes and dove under. And when I tried to come up for another breath of air, Oh, Mother, you wouldn't let me do it. With his hand he held me under. My hands they tore at his arm. But he held me down. Down until it last I screamed for mercy. A water filled my mouth. My lungs it killed me. My own brother killed me. And that is why I tore myself out of the sea. I want to know why he did it. Why? I cannot rest in peace until I know and understand. You tell me. Oh, speak, Mother. What gain could come to him for such a horror? I do not know. Oh, believe me, my son. I do not know. Then I must go back. I cannot stand this pain. Oh, my good Thomas. Look at it and give me your oath. You will not tear my Eileen or my brother this night. Oh, but I... You're oath, Mother. They must not know. You hear me? They must not know. I swear, Thomas. Oh, merciful one, this pain. I go, Mother. Where? Back to the sea. And will we ever meet again, my son? Yes. The day I find out why he made me drown, I will return, Mother. I will return. Thomas, my son, come back here. Oh, my son, my son. But he was gone, Father, down on you. Gone back to his nameless grave at sea. Then, then it happened, Fetter talked his way into the good graces of the girl. Simple little Eileen. What did she know of the evil of men? A little patty in my good Thomas's Eileen took her life out of me and made me long for the quiet of my grave. And then, then came the day that we'd meet. The end of it, there was plain. And then the good people of the Eilings were happy. I alone was sad, weeping. Weeping at what I knew. Oh, Mother didn't know. Why do you sit here apart from all the rest and weep? I, I'm not weeping girl. But weep you've been so sad. Can't you find a little joy in your heart for this day of my marriage to your own son? My, my son. Like you're not lovin' it as I did there, Thomas. But Thomas himself told Patty that if he died, he wished that Patty had cared for him. And Mother didn't know. What is it? Now he knows. I just remembered. Now he knows. There you are, my little bride-to-be. Why waste your wedding day with this old woman? Mother of mine, though she'd be, her face is sour enough to curdle milk. Come on away now. No, no way, Patty. Mother didn't know. You must tell me. What is it that makes you stare at Patty with such an awful mouth? That's the look she's always had. Ah, look how the sun glints on the sea. Ah, it's a day for a king. And I am a king marrying the girl I've always wanted. Come, kiss me, I mean. Kiss me so that Arnold shall see me, kissing the prettiest bride in all Ireland. No, please. Kiss me. Let the sky and the sea... Mother didn't know. What did you make that sound for, old woman? What's going on around here? No, Mother! What did you make that sound for? What did you make that sound for? Now then, pick up, Mother. Why did you streak like that? The sea. What of the sea? What are you putting your borny finger at out there? What are you... Look, at the water's edge. Say, what is something's coming out of the sea? Look, there's something's coming out of the sea. I see it now. It's a seal, that's what it is. It's a seal. It's a clever seal. No, it's not a sea. It's a man. Look, man. Bones. Just bones. Let's get out of here. Look, look. Ah. Ah, blessed marriage is printed. She will not see you. What... What... What is it? I... I can't move. I cannot move. No. You cannot move, my brother. You cannot move. That... That voice. Bones and little flesh. And yet you know the voice. Thomas, your brother Thomas. Come back again. No. Because now he knows. No. Now he knows. No. No. Why the murder? Your flesh and blood. I heard it from your own lips. You wanted my eye lean always. That's why you did it. Your clever tongue can no longer save your brother of mine. I have come a pain for a way to get you. No. No. No, you won't get me dead pain. No. I will live with the pain. I will run. I will run. And so he ran further down a hill. He turned and ran up, up the path. It led to the top of the cliff, and behind him slowly sobbing with the pain that tall his dead bones climbed my dead Thomas after him. And after Thomas, dragging my old bones, I went. Oh, because they were my signs, and I had to see that right with them. up until the last cutter stood on the very edge. The D 500 feet below, shrieking. Yeah, and wait. He stood there shrieking at that horrible thing that once was in there. No, no, no, things stay back, stay back. You've found the bill, stay back. I'm coming to you, my brother. No, no. I come for you. No. He fell, he fell. Mother, see, he didn't get me. Those rotten bones gave way beneath him. He didn't get me, mother. He, mother, what are you going to do, mother? Over the cliff, Patty went, turning and twisted, and into the sea where the water covered him over. When the others of the village came up there at last, I told him that the old bones of Thomas's event had clutched Patty close to him and pressed him out. Oh, father, don't you listen. It was I that day that final push that sent the evil son of mine through his death. Thomas tried and failed before he had that measure of revenge. So I did. I gave Patty to my life. And I gave him death. His name is forgiveness. And heaven's blessings. Later, lights out to everybody. Bring you stories of the supernatural and the supernormal dramatizing the fantasies and the mysteries of the unknown. We tell you this, frankly, so that if you wish to avoid the excitement and tension of these imaginative plays, we urge you calmly but sincerely to turn off your radio now. Among us, and you're included, has not had the dream at one time or another of being superior to his or her fellow beings to jump higher, to run faster, to dance better, to be more beautiful. We've all run the gamut. All of us had various ages of standing out from the crowd of humanity. That's what our story is about today, being different in a very special manner. And now, if you haven't already done so, turn off your lights now. But my dear Mr. Finn, $5,000. $5,000. $5,000. What do you think you're doing bidding at an auction sale? I am bidding for your services. And if a $5,000 retainer isn't enough, why name your own price. I'm not here as an individual. I'm the representative of a group of casualty insurance companies who handle practically all of the burglary insurance in this entire area. Well, if you're that important, talk important money. $10,000 cash. Very well. I'll write you a check. Finn, Detective Agency, F-E-N-N. Yes, yes, yes. Half a million dollars stolen and brought daylight and no witnesses. Very clever criminal, whoever he is. But surely you don't believe only one man has committed all these crimes. Whenever there is greatness, even in crime, the answer is a man. One man. 25 places, robbed both sides of State Street. 25 stores robbed in the space of 30 minutes, and you talk of one man? He's very clever. No one man could rob 25 places, spreading over a distance of three blocks in the space of 30 minutes. No. Of course not. Thanks in department stores and loan companies. Cash registers cleaned out. And not a clue, not a witness. The devil alone knows what this is all about. The devil alone. City Mag. Oh, hello, Chief. Yeah, he's been here two days in a row. Yeah, all he looks at is the bodies of the hit and run. Listen, Chief, here he comes now. Yeah. OK, I'll try to find out. Yeah. Hiya, Mr. Finn. Early today, ain't ya? Quickly, show me the new ones. Yeah, sure. Why not? The same kind? Yes. OK. This one's name is on the tag, Morrison something. Relgazane claimed him yet. Look at him. Smashed up pretty, ain't he? He never knew what struck him. I'll say he didn't. The way that's goes, well, I bet you he went out just like that. I no longer interested in this one. Where's the next? Coming up. Where did I put this fella back on ice? Let me see. Where'd I put the dame? Oh, yeah, here she is. Whoever the rat was, his hair must have bust the front end of his crate. Look at her. Ain't much of her left to tell who she was, is there? Only identification on her was her first name in a book. Let me see. Libby. Yeah, that's what it was, Libby. Gosh, if this was my girlfriend, any hit and run rat did this. I'd find him even if I had him. Mr. Finn, what's the matter? What are you laughing about? It ain't funny. The girl's face, it smashed it. What are you laughing about? I know. Now I know. I want to talk to you. Are you talking to me, copper? Oh, wise guy, huh? Listen, you, what's the idea of cross-examining everybody in this neighborhood? Now, just a minute before you start using that night stick, you'd better have a look at this. Why? Well, your private detective, you know, brilliant. Well, no, how was I supposed to know that? Well, you know it now. Tell me this, what do you know about the hit and run cases in this district? Oh, that's bad, sir. But what can I do? You're a broken rat's driving without lights and giving no warning? We'll get him tonight, sir. Believe me, we will. What do you mean? There's going to be 10 squad cars touring this district. Just a moment, one question. Have you been hearing any peculiar noises on your beat? Noises like an airplane motor when there wasn't anything in the sky? Go on, now. You're kidding me. See, look at the time. I better get moving when we beat it. The sergeant will be shooting his mouth up. Anything else I could tell you? Yes, this restaurant we're in front of. Is it a good place to eat? Yeah, Bill Lewis' place is OK. He's half in Washington, but his wife's running it. Nothing like the Ritz, but it's OK. Well, I'll be seeing you. You're mistaken. What do you have, sir? Nice dinner? Coffee. Piece of nice fish pie, apple, peach, cherry. Apple. Yes, sir, right away. I beg your pardon. Where did you come from? I followed you in. I wish to speak with you. I don't want to buy anything. I am not selling. Just like you, I am asking questions. I have been watching you. All afternoon, you have been asking many questions. What's that you? I am a Bellini, Dr. Bellini. I live in this neighborhood. I am interested in whatever goes on in it. That's a neat you, doctor. Maybe you can tell me. Have you heard any unusual noises during the late afternoon and evening hours? No, as you couldn't quite locate or explain. Noises? What noises? You are a detective. Why do you ask that? As a physician, I pride myself on my powers of observation. You are a detective, eh, my friend? Yes. Then come with me to not raise your voice now. This gun in my pocket will kill you. Walk slowly toward the door. Make no noise. Now, open the door and step outside. I advise discretion. I will be close behind you. Now, walk beside me down the street. A gun in your side in your lap? Why do you laugh? Tell me. I've been looking for you, Dr. Bellini. Yeah? Why? I must know your secret. I must. Very well. But there is a price to pay. Price? What is your price? Death. So, now we will not be disturbed, Mr. Ryan, Mark Fenn. Mark Fenn, the man who is willing to die to learn my secret. I'll take my chances. Just tell me, how did you do it? But first, I will ask you questions. You are either a very clever man, Mr. Fenn, or a very lucky one. How did you suspect it was only one man? I knew it had to be one man. But how did you correlate the missing money in the dead and the streets? 30 minutes to collect half a million and cover 25 stores. I knew you'd have to move fast. I figured someone would get hurt. You are very clever. You did do it, didn't you? Come, I will show you. You will be the first to know. And the last. Here, sit here. Yes, yes. Now, what do you see in my hand, Mark Fenn? I have a bottle. It's full of oil. Not oil, you blind fool. Power, the key to the world. Listen to me, Mark Fenn. One drop of this in the world is mine. You believe, Mark Fenn? You believe what I tell you? But what does that stuff do? You've got to tell me. Speed. That's what it gives. Speed. Faster, faster, faster. Every atom in me faster. You do believe, Mark Fenn. You've got to believe. But what? I don't understand it. What does that stuff do to you? Oh, you fool. Why don't you listen? Speed. That's what it gives me. Speed, every physical process, every mental activity. It speeds them up 10, 20 times the normal rate. Faster, faster. Every molecule. Listen, the average man walks three miles an hour. One drop of this. And I walk 60 miles an hour. Now you know my secret. A chemical which speeds up my activities until I am a god, a man. I drop this one drop. And I walk, and I run, and I talk, and I think 20 times faster than any other man in the world. No, that can't be. No. Then watch. I drink to Dr. Bellini. Where are you, Dr? Where are you? Bellini. Never seen you. Bellini, Bellini, what are you talking about? What are you saying? I don't understand. Stop it. Stop what I'm saying. Bellini, you went away. Where? What happened to you? Why do you talk like that? No, no, no, no, no, no, no, no, no, no, no, no. I told you. Physical, mental processes speed up. Wait a second. Chemical effect, we're aware of completely that stuff. It makes you talk fast, is that it? There. Effect is worn off. And back to normal rate again. Where did you go? Where? To prove to you that what I say is true. Look what I have in my hand. Diamonds. Diamond necklace. Where did you? From the window of that jewelry store, three blocks away. You were there and back in these few seconds? 20 times faster than any man can run. I ran in those few seconds. 20 times faster than any man can think. I fought in those few seconds. Now, now do you believe, Mark? Was you moving at 100 miles an hour that knocked down those people and killed them? Was you moving so fast? They were not hurt. They were hurt. But not you. Yes, yes, yes, it was I. It was you moving so fast, I couldn't see you, who took that half million in cash when I stole it. Yes, I. Me too. You? Yes, me. All my life, I've wanted to believe. The power you've got now, Bellini, I want it too. But why? Why should I share it with you? Because I can help you. Yes, that's it. I can help you. There's so much to do. You can rule the world, but you cannot conquer it alone. You will need help, and I'll need help. You hear me, Bellini? I'll help you. I'll do anything you say, but you must let me join. With the cream of all my life coming through. Power like God. Let me join you, Bellini. Let me. Yes, I need a man like you. Together, we will help the world. Great and unprecedented crime wave, which is sweeping out city, is due entirely to the unholy alliance of crime and politics. Sweep the culprit out of office, as I see you in the hospital. Can you, Mr. Mayor, I'm doing everything I can do. I'm sworn in a thousand extra deputies. I've got the force for the troops. Fellow citizens, this alliance of the underworld and their masters can never be broken until we, the people, take matters into our own hands. Jalancy's abode. We must rise in our ops and drive these vampires out of our density. Our resolution is final. Well, at least ten days. Say your mark, then. Oh, I say we have to leave. Ten million dollars. Nobody in the world have collected money that fast. It was good letting you join me. I told you. Only places where money is, you know. But it's not money alone we want, Bellini. Oh, I know, I know. We have been just, how do you say it, testing our wings. And now we're ready to go. Yes. New concentrate of my chemical is ready. Today, we have taken the city, the more of the world. But now, while the city we have left behind us boils in the madness we have brought to it, you and I, we will arrest, eh, friend? You'll not forget. Why? I was thinking of the fun I had this morning. You mean when we liquidated your enemies. Dead. Every mother's son of them. Every one that ever lasted. Yes, every one of them. And you go on to do triumphs. They never knew I hit them. That's the only trouble with moving so fast, Bellini. You mean when you struck them at 50 times the normal rate. Yes, it was like hitting them with a six-inch shell. Skull smashed in like empty heads. And you were disappointed because your revenge was over too quickly, eh, Marksman? Yes. What if I were to tell you that my new concentrate, the one we will use tomorrow when we arrive at the seat of your government in Washington, what if I were to tell you that this new concentrate is infinitely more powerful than the one we have been using? More powerful than how can that be? Listen, the one we have been using increases the physical and mental rate 20 times, is that not so? Yes, talk, walk, run, and think 50 times faster. So there you have it, with the new concentrate, talk, walk, think, and run an infinite number of times faster than all. You, you mean there's no limit? No limit. When we move faster, as fast as we'll lie. 200, 300, 500, the limit will be our desires. A proof of light here, there, the next place, must also man, because compared to us, men are snails who crawl while we run. Master, sir, man, look. I have brought the bottle. The new concentrate looks the same. Yes. Shall we try some, Marksman? I, I don't know. We must try it sometime. Yes, it is the same basic formula as the other. Sure. Do not ask you to do what I will not do myself. We will take equal amounts and compare reactions. How much? Two drops each. I have two medicine drops ready. Yes. The moment with one of the drops, we will move toward the, you see that barn across the field? Yes. We meet there, and see how fast we can move. You know your drops, Marksman? I, I, surely you're not afraid, my friend. Afraid? Me? Well, no, of course not. Give me those drops. And we'd bring together. Yes. Mark, believe me. I am not quite sure. Listen, the barn, we're lying by the barn. We, we did get here. Mark, Finn, you're close. My close? Oh, well. I'm naked. I, too. Mark, Finn, listen. We moved so quickly through the air, our clothes were torn off. Can you concentrate infinitely more powerful? We moved through the air at a tremendous rate, hundreds of miles. Blinny. What? The lips, they're not moving, and yet I hear you. Your lips, they do not move either, and yet I hear you, too. That cannot be. What is it, Blinny? Our reactions. The concentrate has speeded them up so intensely, we read each other's thoughts. No, no, do not move. Why not? The concentrate, it was too powerful. We must lie quietly until its effects wear off. Yes, but, uh, Blinny, why are you looking at me like that? Your face. My, my face? Something's happening to it. What? Speak up, what is wrong with my face? What? Your, your face creases in it. Lines. And yours. That's what's happening to yours, Blinny. I feel, Blinny, what's happening? Tell me. Age, that is it. Age, age, age. We are aging, we are aging. What are you talking about? The concentrate, our physical reactions, they have been speeded up too much. Tell me, what's that got to do with? Listen to me, the concentrate, it has speeded up our life processes to infinity. Every second is aging us a year. Every second? No, no, I'm a young man, Blinny. Your life, I'm not turning older. I'm not, I'm not. I'm in his flesh. This is Arch Obler bringing you another in our series of stories of the unusual. And once again, we caution you, these lights out stories are definitely not for the timid soul. So we tell you calmly and very sincerely, if you frighten me easily, turn off your radio now. Yes, Adelina, I am here. And I'm here. Yes, yes, you'll be here any moment. I'll see you'll go see if Dr. Miller's coming. Yeah, I'll try to breathe. Not have it. Dr. Miller, why do you send for her? What can she do? Don't I be a fool that you're not here but the old woman? Dr. Miller, Dr. Miller. I tell you, she drove me crazy with it. And finally I sent for Dr. Miller. Well, who knows? She does come more different, you got to make. The old woman, worn out machine, 84 years is long enough. I will go with you. I cannot believe that she would come here. In a moment, we shall see. Yes, yes, I'm coming. Adelina is here? Yes. Yes, Dr. Miller. You do not recognize me, perhaps. I am the mayor. Oh, yes. Will you honor my house by entering? Of course. I did not know if you would come. You are so busy. She is such a old woman. She is a friend of my mother. Where is she? This way, please. Oh, yes, Doctor, if you will permit me. This is my good neighbor Frank. It is a great honor meeting you, Dr. Miller. Adelina, you say she is dying. Why do you keep it from her? Oh, no, no, Doctor. Do not even see such a thing. Come this way. In here, Doctor, it's a great pity. If a woman is older, she will take Heaven's own intervention. Please go now. Oh, yes, yes, of course, Doctor. Anything you say. Adelina, try to open your eyes. It is I, your old friend, Dr. Miller. No. Yes, I came as quickly as I could. No, come in. Yes, here is my hand. Oh, my friend, your arm pain. My son, my youngest, in two days, he will be here. Oh, Dr. Miller, I am so tired, and I want to die, but not yet. Not yet. No. No, you must rest. Not yet. Adelina, please. My youngest. He comes. I must see him once more. I must not die. Not yet. Oh, my friend, you call me friend, Dr. Miller. You, my only friend. What can I do? Give me life. Give me life with a few more hours. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. No. Not yet. No. No, not yet. No. No. No. No. No. No. No. No. Oh, my friend, if you could go, okay? Yes. No. No. No. No. Oh, my bun. Oh, my buddy. Oh. No, go. No. No. No. No. No. No, Dr. Miller. No. I'm a little warm, I'm telling you, I don't see you, have pity, help me, hold me, I have fought so long, now you must help me to move on. Yes, I will help you, you must use all your strength and listening and trying to understand what I'm going to say. Good friend, what I'm about to tell you is so, those things that I almost dare not speak, and yet if I'm to help you with your ask, I must speak. No, no, no, no, just be, as you said yourself, death is very close to you, and since yours is the disease of old age, of a body worn with long years of living, there's nothing that medicine can do for you, except perhaps to ease your leaving of this life. And I will help you, but what I'm about to do to you is something I should not do, listen good friend, try to understand. For many years I have worked with little white mice attempting to discover the true nature of cancer for many years, good friend, and while in these studies I've made a discovery, a discovery which, which goes beyond all understand. Oh, great. Working on the little creatures, I discovered that when an organism has lived its full span of years, the cells within the body become aged, worn, and become what I call a fibroblast. Now I've discovered that by injecting these extractively tissues, oh, she dies, oh, I must do it, I must, my instrument tastes, and I promise, so green, that only gives her a little more of life, and I must be sure, oh, oh, needle, it beats it into a half hour. Oh, no, you must live only a few seconds tomorrow until I have little work, my experiments foolishness, the reaction on the mice, only the illusions of my hope, what I've done to this old woman, her dying flesh, her pulse almost gone. Oh, forgive me old friend, in your gift, no, sheep are red, so bright, so fresh, young, dark heart, dark, there's no dark kind of faith. Doctor, there's the old woman, there's Adelina, who is young, who takes her know of this milk, you have conquered death, she shall live forever. What have I done? What is this? What you are? The doctor, it is I, Frank, what's the news? He is coming here, I tell you, he comes here, the mayor is bringing him, he refused to wake good morning. And who is it in patient one that has to see me at midnight? He did, he did, he's excellent, he's excellent. Yeah? Frank, what do you say? I tell you, he really is excellent, he's lost name, I'll never tell you the name, see his picture, you see his picture everywhere, he's coming here, doctor, to see you, the mayor is bringing him. Frank, thank you for being here. Oh, no, no, I tell the truth, doctor, the great one has heard of the miracle of Adelina. What do you say? The miracle of the resurrection from the grave, I hear him talking to the mayor, he is coming to see you. Oh, there, there, you see, I tell you the truth. And how won't you open the door? What else is there to do? Open it, sir. Yeah, yeah, I'll open it, I'll open it. Oh, thank you. Oh, thank you, thank you. Yes, thank you, thank you. Well, Frank, there is a miracle, you told him, my child. I am here, Mr. Lair. Yes, oh, I did not feel standing there in the shadows. Doctor, a great honor has come to you, yes, yes, all right. Most distinguished visitor in the community, I have a lot. Yes, yes, most distinguished visitor. Yes, ma'am, you're tackling old fools. Oh, yes, yes, I see. I only thought that is to say, I only meant. And beside you fat old fool. Doctor Muller, you know who I am? Yes, your Excellency. I am a man of few words. I will speak plainly. I want plain answers. I am at your service, your Excellency. Then tell me quickly, how did you do this miracle? Miracle? He means Adelina, his Excellency. Close your mouth. I am talking. Go, all of you. Yes, yes, I'll speak. I'll help you. Now then, Doctor, I ask you for an answer. How did you give that old woman back her youth? Well, don't stand there staring at me. I want an answer. How did you do it? There is nothing to say. Nothing to say? No. Do you realize to whom you are speaking? Now, there is no doubt you do not. In your unfortunate isolation, you have failed to do your duty in having the proper knowledge of who is important to the state. All right, I will educate you. I am Joseph Brown, Doctor of Philosophy and Member of the Department of Propaganda. I know of you. So? Then speak plainly. There is no use hiding facts. I've seen the woman with my own eyes. Your fat mare took me to her. I've talked to neighbors, friends. I know that she was worn out, aged, dying. Now, she is young again. Speak and speak plainly. How did you do it? And if I tell you? If you tell me, my dear doctor, this is your house? Yes. Your experiments in that room? My laboratory. Mr. Mare? Yes, Your Excellency. Come here. Yes, Your Excellency. Open that door. I want your Excellency, I want. Into your laboratory, my fine doctor. I follow. The rest of you stay out here. Now we will be quite alone. So, now we can speak plainly. Ah, so this is where you do your work, hmm, my fine doctor? Yes. Now, what have we here? Well, mice, little white mice. How charming. I use them in my experiments. And what are your experiments? The hereditary doctor and cancer. Cancer. So you persist in lying to me. Doctor, they tell me you are a very clever woman. Yet I assure you, you will be most stupid if you persist in keeping the truth from me. I am not a violent man. So I ask you very calmly to be sensible and speak freely. Now then, the miracle of youth. How did you do it? Hey, I'm not quite sure myself. That is no answer. Well, there are other methods. Mr. Mare, you want me or Excellency? Come here. Yes, yes. Anything you say or Excellency? Mr. Mare, how old are you? My, uh, your Excellency, I'm not quite sure. In my 50s, I believe. All right, you will do. Bear your arm. My arm? You heard me? All right, doctor. Give him the injection. The injection? Me? You will kindly shut your mouth. You heard my order, doctor. Do as I say. The injection to him? Yes, yes, to him. I spoke plainly enough. But I can't do that. Why not? You have more of the liquid? Yes, but don't you understand it? It's permanent reaction from the human neck, isn't it? I don't know that. And so I dare not use it. But that woman, she is young. Yes, but who knows what other... All right, all right. That's quite enough, doctor. I have come a long way to investigate a rumor. Now I am here and you will do as I say. Yes, I refuse. Do not speak like a child. I am not a violent man. And yet, doctor, it would be a pity to lose your life work. I do not stand that I am growing quite impatient. Yes, and the mayor too grows impatient. Oh, your ex, see, why are you going to talk to me? I am an old fool in my mouth. And bear your arm, you old fool. Well, doctor? I am very... Excellent. Oh, doctor, what? Oh, just how can I tell you? Proceed, doctor. It will not hurt, Albert. How simple. The needle in, you press the plunger. It is done. How do you feel, my friend? Yes, yes. How is it, old man? What's going on inside of you? Look, it's flesh. It seems to glow like hers, yes. The ring has gone. It's back straightening. What happened again? I'm biblical. Speak, man, speak. My blood rushing through my veins. Doctor, why do you look at me so? My voice sounds so strange in my ear. Look, look in the mirror ahead of you, you old fool. Yes. No, it cannot be. My face, young. I'm young again. Doctor, look at me. Young again. Young again. I'm young again. Young again. Oh, my buttocks are strong. Look, I jump, I dance. And let me out of here. Everyone's asleep. Yes, go, go. Young again. She made me young. So, it makes them young again. Does it? Are you blind? Didn't you see it just as I saw it? Wrinkle flesh, young, twisted back straight. I tell you a gift to the state from heaven. Oh, hell. All science is mad and all scientists are mad. Man, I have often said that only we who think without blood think clearly and recognize our destiny. I don't understand. You will receive many honors with this, Doctor. Tell me, but first, you have kept an accurate record of your experiments. Yes. May I ask where? Notebook. Excellent. In the name of the state, I ask you to give it to me. To you? Yes. What would you do with it? I told you there are some of us who recognize our destiny. I recognize this as mine. What? With this power in my possession, think. Think what wonder I can perform. An army of youth, everlasting youth. An army invincible. Oh, no. Old men young and young, men forever young. An army without end sweeping the earth. And I, yes, I, the leader. No. No, you cannot use it for that. Cannot. Ah, yes, I understand. You are thinking that there is another leader. Well, Doctor, at this moment I can speak quite frankly with you. Yes, there is a leader. And they bow their heads to him the masses. But I will tell you this. It was my brains. My catch words. My slogans that taught them to look on him is the invincible. And so what they are shall fall is really a man who exists only in me. Now perhaps I can take my rightful place. He's an emotional old woman, Leland. While I, I know the wonder and the power of the soft word. With your licks of youth to tempt men, I shall become quite invincible. With an army invincible. You do not speak? All right. Then do give me the notebook. You, you cannot make men young to kill. Make them young to live. The notebook, Doctor. No, I'm not giving it to you. My work has been to preserve life, not to destroy it. The notebook. No, you can't have it. Not for soldiers, do you hear me? Not for soldiers. As you wish, Doctor. I told you, I am not a violent man. Good night. Good night, Doctor. Yes, Your Excellency. Go in there. Share the notebook in her hand. Bring it to me quickly. Yes, Your Excellency. What a pity. The good Doctor. She has committed suicide. Report to medical officers, men. Company J, MQ. Report to medical officers, 12 o'clock. Reserve officers, report to medical officers. Your regiments, General. They do not quite know what is happening to them, men. It does not matter, Your Excellency. They'll be ordered. Come. Let us go into your office. As you say. Now then we can speak most comfortably. How many men have been treated? 50. Picked ones. You are satisfied with the results? It was beyond belief. And so you will join me? Anything you say. Pervendous it happened. He gives one of his infernal orations next week in the old hall. With you and the others to help me, I assure you his old womanish raiding will end. Right there. You will speak of others. You doubt they will join me? Oh no, but all men will follow you. Naturally. To think that you should have made such a discovery. I sometimes surprised myself. And you alone know the formula? Yes. That is why I am so sure of you and the others. It will be most pleasant to know the delights of you forever. My friend. Do have you taken the injection yet? I know. No, I decided to wait until the results of our test cases were quite complete. 50 human guinea pigs. Now that I am certain of the success? Yes, I will do it at once. My injection here. Have it already. Hypotomic field. Very well filled. How interesting it looks in its case in general. My immortality. You would like your youth again now too? Oh I, oh I am not ready. There is nothing to fear. You see, I pinch the skin in my arm. It's a little bite for a moment. Do you feel pain? Pain? No. No, no, no. Only a strange warmth in my veins. I feel, I feel my blood seems to run swiftly. Your face. What is it? Your face. It is strange. Yes, yes I feel it. I am young. A young man again. I told you young. You were part of my... Octario. No, no, no, no. Let him come in. Let him come in. Nothing deserves a young man. Nothing. Well, what is it you want? Well, how thoughtful of you to bring me such a beautiful young woman. Yeah, it is about her. So I have come to your actual seat. About her and the mayor. The mayor? Yeah, he is breaking that silence. But who are you? Oh yes, yes. I remember you. You are from the village. This woman. The first to be rejuvenated. Your Excellency Habelina. The very first. The villagers they send me to ask you. You will help her and the mayor. Won't you, your Excellency? Help? What are you talking about? Look at her. The picture of youth. She will die of old age. But look at her now. Young. Beautiful. Your Excellency. So sad. Young as you say. Beautiful. But the devil drew Dr. Miller putting forth things. Listen to what it has done to her. What speech had they not speech? No. Yeah. No, I won't. Make a stop. I want you to make a stop. Yes, I'm quiet. I don't mean that quiet. No, no, no. Tell me you. You. Tell me what's wrong with the woman? I tell you, the devil drew. The stuff that makes her young. Speak. I command you. Speak. The thousands, thousands. Excellency, I'm trying to. It made her young. It made her body young. But day after day her reminded. It has kept on growing younger. Oh no, you lie. You lie. Not the injection over something else. I did it. No, no, no. I tell you the truth. The mayor did the same thing to the mayor. The injection. No, no. It can't be the injection. No. Did it? General, what? Why do you look at me? You. You took an injection. A large one. Get out. Out, all of you. Out. You can't frighten me. Get out. Out. Get out. Can't you lie? It was not the injection. It was something else. I'm all right. My mind is falling out. Yes, it was lie. It can't be the injection. No, no, no. Some strange disease. Yes, yes. I'm all right. I must be all right. I'm strong. My mind is strong. I'm young. I'm not a violent man. No, no. I am young. My mind is strong. How can the mind grow young when the body stay old? It cannot be. My voice, my head, it spins. Younger, what was I saying? Younger, the room spinning. Where am I? My voice holds your clothes. I'm a soldier. I'm a soldier. I am a soldier. Lights out. Everybody, later. Then this is Archobler bringing you another in our series of stories of the unusual. And once again, we caution you, these lights out stories are definitely not for the timid soul. So we tell you calmly and very sincerely, if you frighten easily, turn off your radio now. But if you're fascinated by the mysterious, the fantastic, the unearthly, then anticipate chills in our story of poltergeist. Fried in a one-horse open sleigh. Hey, that was swell. Now let's go to town. St. Louis woman with her diamond ring, kicking that man around. No, stop that, Kay. What's the matter? Am I scaring the horse? What? Seems like a sacrilege singing a song like that out here. This beautiful, clean snow and blue sky. Well, what's wrong with a hot song to keep us warm? If you think the St. Louis blues is going to dirty up the snow, you ought to hear Frankie and Johnny the way I sing it. Oh, stop it, Kay. You're not funny at all. Why can't you enjoy the fresh air without that cabaret sort of thing? Just an old-fashioned gal, eh, Florence? How about you, Edna? Don't you like my songs, either? You haven't said anything for the last five minutes. Well, I haven't been listening to you to tell the truth. I love to watch the snow sort of flow along under the sleigh. When you say that, gal, smile. Gosh, do you ever see more snow in your life? The man at the hotel said it'd been snowing on and off up here for two weeks. I think coming out here to the country's the best thing we three have done is we started rooming together. Hiking in the snow is terribly healthy. Yeah, that's what I'm afraid of. The healthier I get, the worse I feel. Crazy idiot. She does say the funniest things, doesn't she? I always say that Kay ought to know. Hallelujah, we're here. Is this as far as we go, driver? That's right, miss. Can't go no further down this road, account of the drift. Oh, my goodness. The drifts are too deep for a horse-hawken. We walk through them. My second emotion. Well, you young ladies don't have to worry none so long as you keep going down the valley over there. Snow ain't piled up that way all the way to Marjankin. Oh, that's marvelous. Come on, girls. Let's get started. So long. Take care of yourselves, girls. Come on, Edna. Goodbye, little girl. Well, listen to the snow talking at us. Say, dry snow. Our feet rub particles of it together and the friction makes a sound. Kind of scary. Why? Well, I don't know. Just because the snow was sort of trying to talk to us. I mean, it was angry at our trespassing. Hey, don't tell me we're trespassing. I don't want any country squire taking any potshots at my constitutional amendment with rock salt. No, thank you. Don't talk nonsense, Kay. We're not trespassing. Why, this pass through the valley here over to Mrs. Jankin's house is the favorite hike of everyone who comes out this way during the winter. What's Mrs. Jankin's got anyway that makes people walk their feet off? What do you taste her cooking? Eat. Oh, boy, let's go. It's awfully quiet out here, isn't it? Oh, that's the glory of it. I've had the roar of the subway in my ears so long. Okay, don't walk so fast. Come on, look what I found. Oh, come on in. Oh, please, let me take your arm. I'm getting out of breath. Well, take it easy. There's no hurry. Well, what is it, Kay? Look, through the circle of trees here. Look what I discovered. Well, isn't that interesting? It's a sort of a natural amphitheater. Sure. Say, who was this guy, Daniel Boone? What's an amphitheater? Well, that means an oval circling place with rising tears of seats. You know, like that place we went to for the horse show. Back in the times of the Greeks, they had outdoor theaters. Well, listen to the professor. They made use of places just like this, where the ground sloped up and made a sort of a natural arena or stage below. Theater. That's an idea. Sit down, gals, and I'll give you a special performance of the Kay Follies. It's all the snowy here. And just how I'll trample it down with my spring bands. Well, come, sweet things. She is not dancing in the snow. If I had that girl's energy. She's really grateful, isn't she? I'll bet if she went on the stage, she'd say, Hey, hey, hey. Did you hurt yourself? Oh, did I land on my dignity? Here, give me a hand. Here, I'll help you. There you are. Oh, did I take a flop? Did you hurt yourself badly? I'll live. What in the world did I trip over? Oh, no wonder. Look at that rock under the snow. No wonder I did a nose dive. Oh, my goodness. There are rocks like that all over. A person could break their neck if they... Girls, what's the matter? What is it? Kay, the rock you tripped over. It's... it's not a rock. What are you talking about? Of course it's a rock. Well, yes, but it's something... something more than that. It's a tombstone. What is it? A tombstone. Oh, no. It can't be. Look at yourself. It says, here lies buried the remains of one who restless in life. Stop. Don't read any more. Stop. And... and all these other stones laying flat on the ground. They're tombstones too? Yes. What a place to fix a dance. What's the matter, Edna? What did you scream for? You danced on the grave. What? You danced on the grave. I saw you. I saw your door. You danced on the grave. Okay. Edna, stop it. What's the matter? What's come into her? Edna, stop acting like that. I haven't taken control of yourself. Okay. The grave. I haven't taken stop talking like that. Sure I danced on a grave. Of course you did. It was perfectly accidental. If it was, what of it? The Polar Guy. The what? Edna Hansen, what are you talking about? What's that word you just used? Polar Guy. Okay, what have you done? You superstitious little fool. You don't stop talking that way. I'm going to slap your face. What's the matter with you? I didn't do anything. You walked on the grave. You danced on the grave. Edna, be sensible. We all walked on graves. But it was purely accidental. Yeah. We had no intention of desecrating them. It doesn't matter. It doesn't matter. The Polar Guy. You come. I know he would. Oh, what's the use? She's crazy. Edna, what are you talking about? What's the Polar Guy? What are you so frightened about? My father. He told me. If you walk on a grave, if you dance on a grave, the Polar Guy. Polar Guy's what? What is the Polar Guy? An evil spirit. He comes out of the grave. It kills and destroys. Stop it. Oh, please, lay off that way. I'm glad you know. But don't get me. I'm going to come back here. What he's going to say? I'll get her. Okay, catch her. Edna. Edna, don't run away. Nothing will hurt you. Nothing. What happened? That stone. Sit here, Edna. Edna. Edna, open your eyes. Blood. Blood all over her face. I don't know. It came from the graveyard. Take it easy. Take it easy. Oh, doctor. She won't die. Tell me she won't die. Oh, no. Of course not. And you're sure that it's college and practice. Oh, absolutely not. Maybe a little concussion, that's all. Well, it's almost five. Our train. Can we get someone to help us carry her down to the station so we can get her on board? Board? I'm telling you that little friend of yours shouldn't be moved out of bed for a week. If you do, well, it might be just too bad. Oh, Flo, what do we do? You go home, Kay. I'll stay with her. Oh, no, you won't. I'm not leaving you here alone and it's got to be taken place. If you stay, I'd stay too. Kay, please be sensible. Why should we all lose our jobs? When you can... If you'll excuse me, you ladies. I've got to be on my way. Oh, yes, of course, doctor. Is there anything more you can do for Edna, doctor? Any medicine or something? No, if I've done all I can do. She's sleeping comfortable now. Miss. Yes, doctor? The constable's sick too, you know, and he's sort of dependent on me to keep things straight now. Just how did you say that little friend of yours got hurt? Well, it was just the way we explained, doctor. That rock came flying and... Yes, yes, I know, but who threw the rock? We... we don't know. What? That's true, doctor. We don't know. But somebody threw it. You can't change facts. Somebody threw the rock that cracked your head. I haven't sakes, old man. You don't think we did it? No, Miss, I did. I did. Doctor, you've got to believe us. It happened just the way we said. All at once that rock came flying through the air from the direction of the graveyard. It struck Edna, and... and we just didn't see who threw it. All right, if that's your story, well, you better stay in your rooms here. I mean, you better not believe it until the constable's on his feet and has a chance to talk with you. I'll be back in a few hours and see how the girl is. He doesn't believe us. What difference does it make? We know what we saw. But what did we see? She was running. She fell. Okay, well, let's not fool ourselves. There was no one there to throw that rock. There must have been. There wasn't. Stop saying that! Aren't you brave enough to say thanks? There wasn't any place for anyone to hide. I saw that stone. It seemed to come down out of the air. So slow. Florence, if you don't stop talking like that... I remember what... What Edna said. She throws things. Stop looking at me like that. You're giving me the jitters. She said the poltergeist throws things. Spirit of evil. Florence, Rob, have you gone crazy too? Why should we laugh at things like that? What right have we got to laugh? How do we know there aren't powers we can't see or understand? Powers of evil that revenge and insult just like an evil man. Hey, how do we know? What are you talking like that for? What are you trying to scare me for? You... You're supposed to be the most intelligent one of us all. You with your college degrees. Sure, sure, I've danced on the grave. But the dead are dead and they can't revenge a thing. I'm not afraid. I'm not afraid of anything. I can't get to... What? It's Edna. Come on. Edna, we're coming to you. Don't be afraid. We're coming. Open the door, Florence. It's not locked. Don't get walled here. Hey, here, let me. Edna. I run a decent place and I don't want you... God in heaven. It's not a rock. It's a tombstone. I wish I could cry. But I haven't got any more tears. Darling, please. You'll kill yourself if you keep on like that. All this horrible night would only end. It was my fault. Mine. I was the one who got her out here. And I made it come. Well, no, you're not the one to blame. I am. I danced on the grave. You're right. It wasn't right for it to be her, was it? I did it, not her. I did it. I danced on the grave. I danced on the grave. Deny what you see with your own eyes? What I tell you, doc, nobody could have carried that tombstone up the steps without me seeing him, could they? But there it is, ain't it? Either somebody's playing a terrible joke or you don't have to say it, doc. I know. It's just the trouble. You don't know, and I don't know. And nobody knows. Yeah. And that tombstone. Well, what about the tombstone? I... I ain't quite sure, but that's a tombstone out of the old Burrian grounds up at the bend. You're crazy. No, I ain't either. Well, that place is a good three miles from here. Yeah. I know. Who could have carted a heavy stone like that for three miles? Yeah. Who? Stop looking like that, you flappier old fool. Human hands carried that stone in here and killed that girl? Sure. Yeah, the constable will find out who did it the minute he's on his feet again. You wait and see. No, he won't, doc. You're smarter than me and all that, but this time you're wrong. There ain't nobody that takes in breath and leaves out breath like you and me or the constable's gonna find out who killed that girl. You know that, doc. No, stop talking. I wish the constable was here and this night was over. Yeah, I know. I've been sitting here listening to it. I can't stand it anymore. I'll stop it while I bother with it. Come on to bed, Kay. Please. There's no use sitting there. You won't help her. Yeah. Nothing can help her. But maybe I can help you. Me? It was my fault, mine. I was the reason it happened. It killed her and it'll kill you and me too unless I... No, don't say that. It's true. But why should you be hurt? I'm to blame, not you. Listen, Flo. I'll go out there. There? Out there, the graveyard. What? I'll talk to her. I'll tell it. I didn't mean to do it. No, I didn't know where I was dancing. Maybe somehow it'll hear. Listen to me. And then it won't hurt you. No, no. I won't let you go out there. It'll kill you too, Flo. It'll kill you too, Flo. No, no. I'll hold you. You can't go. You can't. All right. Come on to bed, Kay. Please. In the morning... In the morning things will be different. But it won't... Everything will hurt us. And then they're right outside the door. They won't let anything get out of us. Kay, please come to bed. Yeah. We'll... We'll pray. Pray? I... I don't exactly know how. Just say anything. Anything. Like this. Now I lay me down to sleep. I pray the Lord and my soul to keep. If I should die before I wake, I pray the Lord my soul to take. No, you... If I should die before I wake, I pray the Lord my soul to take. Kay, are you asleep? I can't sleep anymore. Kay, tomorrow... I mean, when it gets night and everything, do you think people will believe this? Do you think it's okay? I'm not quite sure what happened. I always used to be so sure about things. And now I'd... She went out the window. She's gone out there. To the graveyard. To talk... To it. Okay, why did you go? Why did you go? I'll go out there too. We should be so frightened out there alone. I'll go too. I'll go too. Oh, so cold. And no so sharp. Cutting my legs. Oh, why did you go out there, Kay? Why did you? I've got to find you. Wind. Oh, why doesn't the wind stop? Blow, blow, thou winter wind. Thou are not so unkind. I didn't like snow. I heard you. I'm coming to you, Kay. We'll talk to it. We'll talk to it together. We'll tell it we didn't mean any harm. What would Kay... Oh, Redna. We can't help her, Kay. We can't help Edna. But I'm coming to help you, Kay. I'm coming. I'm coming. Darling, I'm coming to help. I'm coming to help you. I'm coming. I'm coming. I hear you. This way, Vipper. They must have come this way. Climbing out the window like that in the middle of the night. They must have gone crazy. The both of them. Let's not worry about that now. We've got to find them. Here, give me that, Redna. What is it, Doc? What have you found? A shoe. One of the girl's shoes. My gosh, stuck in the snow. We're going the right way. Come on, move fast. We've got to get to them. Doc. Look at this. What is it? Over there. Ain't these footprints? Yes. Yes, that's right. Footprints. Hello? We're getting pretty close to the old Burrian grounds. Well? Maybe. Oh, look here, Doc. Let's not be fools. Let's wait till morning. What? Let those frightened girls freeze to death? Get along. But, Doc, are you... Come with me or the whole town will know what a yellow-livered no-good yard. All right. All right. You don't have to get so sore, Doc. Hello? Doc. Doc, look. What? There they are. Up ahead. Glory be, they're alive. The bulls-hunting. Come on, Doc. Doc, look at them. That's the Burrian ground up there. And they're dancing. Dancing on the graves. But they must be out of their haves. Come on. We've got to stop them. Doc, wait for me. Oh, Doc. It's Doc again. Where are they, Doc? Where are the girls? Have they... Have they stopped dancing? They've stopped dancing. Did... Did they ever dance? What are you talking about, Doc? We saw them. We saw them dancing in this place with our own eyes. Did we? Here it comes again. See with your eyes again. Oh! But the girls... Throw stiff to the ground. With their head... Crushed. Strobler, would you mind telling us... Me? Whether there actually are such things as poltergeist? All I can tell you is this. There are authenticated records in existence that, in the city of London on the 27th day of April, 1872, from four in the afternoon on a Thursday, until half past 11 at night, a certain room in a certain house was day and age by stones thrown from no apparent source. The London police surrounded the house, but they found no trace of whoever or whatever was throwing those stones with a murderous violence. I... I see. So much for poltergeist. But what about next week? Well, anything can happen, but specifically next week, Mangara, a strange title and a strange story. A par of suggestions. The dictators have shown us to what evil purposes that par can be used. Well, next week, a man who... But that, as usual, is next week. Yes. Lights out. Written and directed by Arch O'Beller will come to you again next Tuesday at the same time. Be sure to listen for the amazing story of Mangara. It is later than you think.