[00:00:16] Speaker A: The mysterious old radio listening society podcast.
[00:00:27] Speaker B: Welcome to the Mysterious Old Radio Listening Society, a podcast dedicated to suspense, crime and horror stories from the golden age of radio. I'm Eric.
[00:00:35] Speaker C: I'm Tim.
[00:00:36] Speaker D: And I'm Joshua.
[00:00:37] Speaker C: We love mysterious old time radio stories, but do they stand the test of time? That's what we're here to find out. We are rapidly approaching our 400th episode and we have decided to revisit our origins with a three episode countdown featuring the three shows that we first listened to for our podcast.
[00:00:52] Speaker B: And our countdown continues with the series I brought for our second episode, Lights Out. One of the earliest radio horror programs predating suspense and inner sanctum, Lights out.
[00:01:04] Speaker C: Was created by Willis Cooper in 1933 and then eventually taken over by Arch Ober. Although in later years Lights out would be closely associated with Ober, he was always quick to credit Cooper as the series creator and spoke highly of the older author, calling him the unsung pioneer of radio dramatic techniques and the first person Ober knew of who understood that radio drama could be an art form.
[00:01:25] Speaker D: We could spend all night sharing nerdy facts about Lights Out. For example, Oblor's first script for Lights out was Burial Service, about a paralyzed girl who is buried alive.
NBC was flooded with outrage letters in response because it turns out burying a paralyzed little girl is always too soon.
[00:01:45] Speaker B: Nine years ago I brought an episode entitled Poltergeist, which was originally broadcast in 1936 and then redone in 1942.
This episode, until Dead, was written by Ober and first broadcast in 1937. But that original version no longer exists as far as we know, was also redone and luckily for us, this one has survived. This is Until Dead from Lights out, as it was broadcast on February 2, 1943.
[00:02:16] Speaker D: It's late at night and a chill has set in. You're alone and the only light you see is coming from an antique radio.
Listen to the sounds coming from the speaker, listen to the music and listen to the voices.
[00:02:32] Speaker E: Ionized Yeast presents Lights out everybody.
[00:02:40] Speaker A: It is later than you think.
[00:02:55] Speaker E: Lights out brings you stories of the supernatural and the supernormal, dramatizing the fantasies and the mysteries of the unknown.
We tell you this frankly, so 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.
This is Arch Ovaler.
[00:03:25] Speaker A: He walks the earth, the little man. You look at him and say, what can he do?
[00:03:30] Speaker E: But then comes war and barbarism threatens his own home. And suddenly the little man towers over.
[00:03:34] Speaker A: The earth A figure of vengeance.
[00:03:36] Speaker E: This, too, tonight, is a story of vengeance.
[00:03:39] Speaker A: But before we begin, Bob Stevenson wants to ask you a question.
[00:03:43] Speaker E: Does day's end find you so worn out and all in that you can't enjoy the evening? Are you so jittery and underweight and under par that you're losing out in your work and in your fun?
Well, maybe you simply need more vitamin B and iron than you're getting from your food. And if so, try ionized yeast tablets. These amazing little tablets are a two way tonic. They give you both vitamin B and iron. They've been of truly remarkable help to thousands who simply needed more of these substances helped these weak, weary folks gain glorious new pep and strength. And 5, 10, even more pounds of good new flesh often in just a few weeks.
Remember the name. Ionized yeast tablets. And now, lights out, everybody.
[00:04:39] Speaker A: You've got 10 minutes with him, counselor. I know, I know.
Well, Rogan, I understand you wanted to see me. Sit down, Council.
[00:04:45] Speaker E: I'm very busy. On Stand up.
[00:04:46] Speaker A: Yes.
What's on your mind? There's always a chance, you know.
[00:04:49] Speaker E: The jury's been out three hours.
[00:04:51] Speaker A: The devil with the jury.
Get me a knife. Huh? Get me a knife. A knife? Are you insane? A knife. Get me one. But, but why? You've got a chance. My. My final summation.
[00:05:01] Speaker E: The jury.
[00:05:01] Speaker D: My, my.
[00:05:02] Speaker A: Deadlock. Yes, deadlock. Shut up and listen to me. Well, when the jury comes in, he'll be there. Sure.
[00:05:09] Speaker E: He.
[00:05:10] Speaker A: Mark Street.
Oh. Oh, him.
You still don't believe. Oh, but I. I do. I do. I definitely believe that an individual by that name does exist. Exist.
He killed my wife. But, but the evidence. He killed my wife. You hear me? He killed my wife. Yes, yes, I know. No, you listen to me.
You listen or I'll make you listen.
For days you've been out there in that courtroom talking words, words. High sounding legal words all the time. You won't believe the word I told you all the time. Back to that mug of yours you've been thinking. Yeah, he killed her. He killed her.
I killed her.
Swellest thing that ever came into a man's life. Now, Mac, I want you to get it out of me.
Marie was my wife. She was helping me and loving me.
Guy come along who couldn't stand her being happy, took a look at Marie, and in that rat mind, he must have said to himself, okay, beautiful, I'm gonna get you.
How and when, I don't know. But someday, beautiful, someday.
That's what he said and that's what he did. Why, one Night he came over.
Sure, he got to be my friend.
He came over. And when Marie told him I was working late down at the plant, he said he'd wait for me.
Business.
Business of hell. What? Oh, how can I tell you?
I can only think it in my head and remember it in my head.
I hear her. I hear about you fighting against me. Fight? I don't hear anything. Fighting. Fighting. She must have clawed at his eyes.
And that knife in his hand. He stabbed her once and again. And the third time when I got home, she had strength to whisper just two words to me.
His name.
And that she was dead.
And he killed her.
He'd frame me so I'd take the rat. And he that loved her. Mark Street. He did it.
[00:07:04] Speaker D: You hear me?
[00:07:04] Speaker A: Mark Street. But no trace of the man. They'll come back, I tell you.
He'll come back. Now to hear that jury speak its peace. He'll come back. I know he will. That'll be my chance to get him.
Get me that knife. But, Mac, a knife. I got to have it.
He'll be there. I can give it to him once, twice, three times. The way he did to her. In his face and his neck and his dirty heart. Dead the way she's dead. His blood wiping out what he did to her.
A knife.
Get me a knife.
Order in the courtroom. Order in the courtroom.
Clear the courtroom unless order is immediately restored. You've got it, Mac. Everything's going to be all right. The knife. Where is it? You certainly didn't think I'd really. Well, I. I mean, a man in my position will bring it. Be sensible, Mac. How could I? Your wild story about revenge against a man nobody knows. Double cross, Max. Jury's coming in.
Ladies and gentlemen of the jury, have you reached the verdict?
[00:08:07] Speaker F: We have, your honor.
[00:08:08] Speaker A: You will read the verdict.
[00:08:10] Speaker F: We, the jury, find. The defendant is charged in the indictment guilty of murder in the first degree.
[00:08:17] Speaker A: The prisoner will rise and face the court. He's talking to you, Mac. What?
The prisoner will rise, Judge. Get up, Rogan.
Mark street, you're here. I know it, Mac. Rogan, have you anything to say before a sentence is passed upon you? I see him. Rogan. What's the matter? Mark Street. He's here. Here.
Mark street, you're here. I see you. I'll get you. Now.
[00:08:45] Speaker F: Now.
[00:08:45] Speaker A: He's here. Mark Street. I've got to get him and kill him.
[00:08:48] Speaker F: He freed me.
[00:08:49] Speaker A: He killed him. Let me go home.
[00:08:50] Speaker F: No. Follow me.
[00:08:52] Speaker A: You came out of. Get away, you said.
[00:08:54] Speaker F: I saw him.
[00:08:55] Speaker A: Mark street, listen to Me? I'll get you.
[00:08:58] Speaker F: I tell you. I'll get you. Like you got three times. Watch across your face and watch.
I'll get you, Mark Street. I swear I'll get you.
[00:09:20] Speaker A: I'm asking you as a particular favor to me, Rogan, to behave yourself.
[00:09:26] Speaker E: Yeah.
[00:09:27] Speaker A: Now, every man in this cell block is a condemned man.
Disturbances just make it harder for everyone concerned.
I ain't gonna be with you long, Warden. There's two weeks yet, my boy.
I'm not going out that way.
Oh, escape, eh?
I'm just telling you not to count too much on springing that trap.
Don't try it, Rogan.
No man's ever escaped from the death house in this penitentiary.
And no man ever will.
Yeah.
Well, this is it, Rogan.
[00:10:01] Speaker E: I would.
[00:10:02] Speaker A: Hello, Rico.
Guard, open the cell door.
In here, Rogan.
What's the matter, Warden? Your hotel getting crowded so you gotta give me a roommate?
Now, behave yourselves, men.
I don't want any trouble.
I sure wouldn't. We don't make any trouble. I hope not. See you later.
Warden's like a schoolteacher. Hi, Rogan. How do you know my name? Yeah, there ain't much going on around here, Rico. Bartelli don't know. Yeah? Yeah, what do you want to know? How do you get out of here?
Well, there's two ways. One through that door where you just came in with the warden. And the other through that green door down there at the other end.
That's a funny door. It only opens up one way. They're not gonna hang me.
A lot of guys say that, but they feed the worms just the same. I'm getting out of here.
It's easy just to talk. I gotta get out.
Why? To kill you crazy.
Well, never mind.
To me it doesn't make no difference, just so long as you help me.
I told Eureka about telling you. He knows lots of things.
Well, listen to this.
I know where to crack this place. You're just talking a guy in my spot. Don't just talk, my friend. Me, I ain't got time for talk. Yeah. They think they're gonna hang me three days from now. Oh, yeah. That's why when I say something, I mean it. For you, too?
They got Sam listening. Look, every day, four o', clock, they'll let me and you out in the room down there that they call an exercise room. We're supposed to walk up and down and get exercise so we'll feel good when they stretch our neck. Only you and me in the exercise room for 10 minutes. No guards. They figure it's all right. Cause the room ain't got nothing in it. No window. And the guard locks it up from the outside. And how do you. I'm trying to tell you. In the room there's nothing. Bare walls, bare floor. And in the floor there's one iron saw lid leading down to the saw that runs into this place of the river. Marie. Sure, sure.
You do like I say. Marie will see you pretty quick. This water, how deep is it? No, no, doesn't make any difference. I can swim any.
[00:12:10] Speaker D: Yeah.
[00:12:10] Speaker A: Not in this water, my friend. Why not?
How far is it from where we can get in the sewer to the river? A mile. I can swim a dozen. Not in this water. Why not?
Tell me why not. Hey, you guys, pipe down, okay? Screw, we're going to sleep.
Tell me why not. Because, my friend, after the pipe that's under the exercise room goes a little way, it joins the main pipe, well, and in the main, so there's no room for swimming. The pipe's filled to the top with water. I'll swim at any. And breathe what? The water I gotta get out. Sure, you've said that before. But you ain't gonna get out if you don't listen to Rico. I tell you, the water on the sewer is up to the top. Maybe half or one inch clear air up on top. Not enough to swim, my friend, but just enough to get air if you got the right thing. What, a diving rig? Nah. A little piece of rubber pipe that you keep in your mouth. And you stick it up out of the water so you're sucking the air while you walk through the water that's over your head.
Where do you get the rubber hose?
Here.
See, I got one right here and I got another one for you.
This end stuck in my mouth. Listen, I raise it high like this so it sticks up out of the water. And I suck up that little inch of air that's waiting up there on top of Mark Street. I'll be coming for you soon. Mark Street? What's that? All I want to know is you're gonna break with me down the so tomorrow. Man, you don't know what you're doing for me. Shut your mouth. I do it because I can't lift a heavy sorely by myself. But with you.
We'll lift it. We'll lift it. Okay, Tomorrow. Four o' clock we try, huh?
Four o'. Clock.
[00:13:53] Speaker E: Ladies and gentlemen, a deep breath please, before we go on with this story of vengeance and macrogen.
Yes? And while we do so, girls, is this how you feel these strenuous war days.
[00:14:06] Speaker F: No, I'm not going to dance with the soldiers. I'm too tired out to enjoy it. And since I've gotten so thin and run down and on edge, nobody wants to dance with me anyway. Well, you don't look so good lately. But listen, you know Sally Blake. Well, she was underweight and weary and jumpy too. And she found out that all she needed was more vitamin B and iron. Vitamin B and iron? I don't understand.
[00:14:30] Speaker E: Let me explain, miss. When you don't get enough vitamin B from your food, you may lose your appetite. So you don't eat enough. And then you may lose weight and lose your pep. Or you may not get all the good out of your food.
And when you don't get enough iron from what you eat, you may be weak and pale and washed out.
[00:14:47] Speaker F: Oh, dear. If more vitamin B and iron is what I need, I suppose I've got to take some disagreeable medicine. Sally didn't. She took ironized yeast tablets. She says they're a cinch to take just pleasant little tablets. And you should see Sally now. She feels so peppy and she looks like a million.
[00:15:04] Speaker E: That's easily explained, too. Ionized yeast gives you vitamin B plus iron.
So when you need them, it helps. Two ways to step up your weight, and pep and sparkle. Try ironized yeast. If more vitamin B and iron is what you need, then see if pretty.
[00:15:20] Speaker F: Quick you aren't saying, well, I feel grand now. And since I've gained these nice pounds, I guess I look good, too. That handsome sergeant's always phoning me lately. Iron ig sure is wonderful.
[00:15:33] Speaker E: And now back to lights out.
This is the day and the time for the two condemned men to make their try for freedom.
Get plenty of exercise, boys.
[00:15:50] Speaker A: Won't be long now. Sure. Screw, well, exercise.
Rico.
Rico, the floor. There's no solenoid in it. What do you think, they got a label on it or something? Quit talking. We gotta move fast. Show me for the leather habit. Okay, okay. Keep your pants on.
[00:16:06] Speaker D: There.
[00:16:07] Speaker A: You see this circle on the floor? Yeah. That's a lid. It's covered with cement, just like the floor.
Mother in heaven. All that weight. How we lift it out. Keep quiet.
Yeah, I got sentimental to the work.
A cold chisel.
I told you, Rico. Bartelli's a smart guy. This little piece of steel cost me plenty. But I got her. And she's gonna get me right out of here. Now, listen. Yeah. Look, you stick the chisel on the crank and push up the COVID It Comes up a little bit.
Then you stick your fingers underneath.
Okay.
You got it? There.
Now get your fingers under.
[00:16:47] Speaker E: Yeah.
[00:16:49] Speaker A: Okay, now lift.
Lift.
[00:16:55] Speaker D: Get that lid.
[00:16:56] Speaker A: You're crushing my fingers. Don't make noise. Don't make any noise. Fingers. Mother of mercy. My fingers. Get that lid off me. I'll get it up again.
I got it now. Help me.
I've got it up again.
Help me lift it. Yeah.
Oh, there it comes.
There we go.
Let it down.
[00:17:35] Speaker C: Devil.
[00:17:36] Speaker A: With my fingers.
Let's go. Okay.
You drop down there first.
I don't know how deep the water is.
Here it goes.
Logan.
Is it all right down there?
Yeah.
Come on.
Okay.
Water's not so deep.
It's only up to my waist.
Which way now? This way.
Come on.
So blasted dark. I know the way.
Yeah, the pigs. Faster. Lead the way.
[00:18:23] Speaker D: Faster.
[00:18:24] Speaker A: I can't go too fast.
Main sore is someplace along here.
I might fall in. Okay.
Well, yes, thanks. Keep going. Keep going. It's black. I can't see nothing.
I'll make a run. Shut up, bud. Shut up.
The water. Don't you feel it's moving faster?
Yeah, you're right.
That means the main sewer's up ahead. Come on.
Don't get so excited. Why shouldn't I? The main pipe's ahead. Yeah, the main pipe's ahead. That means we're going, right?
I'm not afraid of drowning. I can't drown. I've got to kill him first. I can't drown. No, it doesn't matter to you. Come on.
Wait a minute. Give me my piece of rubber hose first.
Rubber hose?
[00:19:08] Speaker D: Yeah, sure.
[00:19:08] Speaker A: Like you told me to bleed through in a main sewer. Give it to me now and get the water separates us. Give you what? What's the matter with you? Me?
Tell me what's up.
Sure, sure. Why not?
I only got one piece of rubber hose.
But, Rico, you said. I ain't saying what is. That's two different things I got. One for me.
And me. You.
You help me lift up that sword. Okay. That swell. Now, if you want to go out and knock off that guy you always talk about. Okay, I ain't stopping you. Take a swim for yourself.
Give me that piece of hose. You better take that swim while you're still healthy, my friend. Give me that hose. Hey, back from. Give it to me. Okay. I'll give you a.
[00:19:53] Speaker D: Cold.
[00:19:53] Speaker A: Chisel trying to knife me?
Get out, you.
Devil. I cut you now.
Oh, I arm.
Yes, your arm, Rico. Bending it to make you bend over.
Bend over, Rico. Over.
Get that head of yours. Under the water.
Drink it, Rico. Fill your double crossing lungs with it. Drink.
All right, Rico, I got the chisel in the hose.
Now you take that swim that you were gonna give me.
Now, Mark Street, I'm coming after.
Hey, now, but shut the door. We're closed, see?
Myers will scram. One o' clock's closing hours in this town.
Help me.
Hey. Hey, what's the matter with you?
Mark Street. Huh?
What's that you said? Mark Street.
Where is he? Mark Street.
Oh, you mean that lanky chiseler that I didn't know? Exactly.
[00:21:38] Speaker D: I mean.
[00:21:39] Speaker A: Well, I ain't seen the guy recent. Where?
Where is he? Hennessy's place? Yeah, that's it. I remember hearing a couple of the boys saying he moved in up there.
Say, wait a minute, fella. Don't you want a drink? Don't you want me to get well? Is that a note? Walks right out on me.
I wonder. What in the Chief.
Ain't that a funny thing?
It ain't rained around here for a week and the guy's clothes were soaking wet.
All right, all right, I'm coming. I'm coming.
Waking a man up in the middle at night, that's disturbing the peace.
Well, what's the matter?
Tell me.
Tell you what?
What's the matter, you drunk? What do you want?
Mark Street.
Mark Street.
Is that what you said? They told me he's staying here.
Was staying here. You mean he's gone? That's all right. He's gone. Tell me where.
Where is he now? He's down six feet in Rosamont Cemetery.
Mark Street.
He used to die last a week.
Good night.
Mark Street.
Died last week.
No, Mark Street. You can't cheat me that way.
Rosemont Cemetery said.
All right, Mark Street, I'm coming out to you.
Why is John Burke so dark?
So dark. If only the moon would.
Ah, now I can see.
Here.
Bless my beloved wife.
No, no, no, not you, Mark Street. Where are you?
[00:24:10] Speaker E: Where?
[00:24:11] Speaker A: So many graves. White stones, moonlight. So many dead.
If you are here, I'll find you.
Here lie the mortal remains of Henry. Oh, no.
I've got to find you, Mark Street. I've got to.
Maybe this one.
Here lies Mark Street.
I found you, Mark Street. I found you all. He's dead. I found you.
But are you dead?
I must know.
I will know.
I will know.
I will know. I will know.
I will know. I will know.
I will know. I will.
I will know.
I will know.
I will know.
I will know.
The coffin.
The coffin.
Oh, I'm down to you at Last Mark Street. Now I'll know.
Oh, they covered you well, if it is you.
Yes, it is you. Mark street cheated me.
Oh, no.
Maybe not.
Maybe not.
Maybe there.
Maybe in another world beyond this one. A world dead where you are now.
I'll go there. I'll go there. I'll get you there. Rico's cold chiseled my hand. I'll shove it in my heart. And then I'll be just like you.
You hear me, Mark Street?
It's Mac Mac Rogan talking to you. Wherever you are, I'm coming to you.
[00:26:15] Speaker F: Mac Mac Rose.
[00:26:22] Speaker A: Coming to you.
Marie.
Marie.
Marie.
[00:26:32] Speaker C: Marie.
[00:26:32] Speaker A: I hear.
How?
When?
I don't know.
[00:26:38] Speaker F: I.
I heard you calling me Mac Rogan.
[00:26:42] Speaker A: It is you, Marie.
I heard you.
I can hardly see.
I don't know where I am. But I heard you.
[00:26:51] Speaker F: You got your wish, my darling.
[00:26:58] Speaker A: What?
[00:26:59] Speaker F: Look.
There in front of you.
[00:27:04] Speaker A: Mark Street.
Mark Street. At last. No.
[00:27:08] Speaker F: No.
[00:27:08] Speaker A: Let me go. The dead can't kill the dead. Let me go.
[00:27:12] Speaker F: And the knight.
[00:27:14] Speaker A: The knife you killed her with is in my hand.
[00:27:15] Speaker F: The knife.
[00:27:16] Speaker A: At last. Mark Street. I'll give you what you gave her. Once in a faith, twice a third time.
Now go back to your grave, Mark street, and I'll go to mine.
[00:27:50] Speaker E: Mr. Obler, do you really think that revenge can go beyond the grave?
[00:27:54] Speaker A: I like to think that it doesn't.
[00:27:57] Speaker E: I'd like to think that murder and.
[00:27:59] Speaker A: Mercy find equal rest in peaceful death.
[00:28:03] Speaker E: Well, I'm interested in next week's story. You go back to California to do that one. What's it going to be about?
[00:28:07] Speaker A: It's a long postponed tale. I started to do it three times in this program and each time something happened. I'll tell you of those postponements in a moment after you finish what you want to tell us.
[00:28:18] Speaker E: Well, briefly folks, if it's vitamin B and iron shortage that's keeping you thin and weak, tired, washed out and really only half living, then do try ironized yeast tablets right away.
They give you both vitamin B and iron. They cost but a few pennies a day. And they're sold on this no risk money back basis if you don't quickly begin to eat better, sleep better, feel much stronger and peppier. And if you are not convinced that ironized yeast will help you gain just the good pounds you need to look your best, the cost of the first bottle will be refunded to you in full by ironized yeast box iy Raleigh, NJ. Just be sure you get the one and only ionized yeast always ask for it by its full name ironized yeast and looked with a big IY on the package and on each tablet.
And now what about this postponed story, Mr. Oebler?
[00:29:13] Speaker A: Well, we all start things we don't finish. Now before I started a word and started and didn't finish it.
That reminds me of something that you folks may not have finished. I'm referring to your war stamp book. Don't say what again. And turn that dial. You know that boy who used to live up the street from you who's in that flying fortress? He can't turn any dials and get out of there when the shrapnel gets close. He's got to keep on. And so how about you in that war stamp book? How long since you put another stamp in it? Remember, four 25 cent stamps will buy a hand grenade. 1550 cent stamps buy an anti tank mine. Six 25 cent stamps, a winter combat helmet. Yes, your money in war stamps can actually save the life of an American soldier. Here's another way to look at it. War stamps earn no interest. War bonds, on the other hand, do they pay you back? $4 for every three.
So looking at it either way as a dollar investment for your future, or.
[00:30:04] Speaker E: Better yet, an investment in a free.
[00:30:05] Speaker A: World, you'd better put those spare dimes and quarters to work against the Axis for victory. And for you in the future, well.
[00:30:14] Speaker E: It'Ll mean a future of a free world.
Ladies and gentlemen, tune in next Tuesday again for Arch Oebler's eerie story.
He dug it up.
A strange tale inspired by a visit to pre war England.
And if you need more vitamin B and iron, be sure to try ironized yeast. The one and only ionized yeast with the big letters IY on the package and on each tablet.
Is later.
[00:30:55] Speaker A: Than you.
[00:30:59] Speaker E: Think.
[00:31:03] Speaker A: Time waits for no man these days, not even for a man to shave. Speed is mighty important.
So why not enjoy the quick comfortable shaves that you get with Mole Brushless shaving cream. A quick yet comfortable shave.
Quick because you can spread mole over your face as fast as you can move your fingertips. Quick because mole forms a protective film between your skin. And your razor gives your razor something to ride on. Thus your razor just seems to skate over your skin, but your whiskers come off close and clean. Comfortable because Mole's protective film helps guard you from nicks and cuts. So why not try molecular Today.
[00:31:51] Speaker E: This is the Columbia Broadcasting System.
[00:31:57] Speaker B: That was until dead from lights out here on the mysterious old Radio Listening Society podcast once again, I'm Eric.
[00:32:05] Speaker C: I'm Tim.
[00:32:05] Speaker D: And I'm Joshua.
[00:32:07] Speaker B: This is episode 399 as we.
As we make our way to number 400. As we said in the opening, we're going with our origins, picking three episodes from the original series of our first picks ever. And my first pick ever was a Lights out, our second episode ever. And I remember vividly back then, the world was our oyster, man. Like, we could pick any show and not go well. We've done a lot of those or have any caveats or handcuffs to what we're selecting.
And also being very new to it, I think I said this in last week's episode. Back then, the scope of what I had listened to was narrow in the sense of I loved Old Time Radio and I had my shows and I stuck to them and I had never really ventured outside of them. So when we started this podcast, I was like, well, I'm going to pick from a series that I know nothing about.
I had never really listened back then to any lights out or knew anything about it other than the opening. It is.
I love that opening. And so I didn't know much about it. And then I listened to a few back then and I picked Poltergeist for one reason and one reason only. That reason was.
You guys have a guess. Do you remember the movie?
So there was no girl trapped in a television and I was horrifyingly disappointed. No. Do you know why?
[00:33:42] Speaker D: It was the first one you listened to five minutes before the recording.
[00:33:46] Speaker B: That's a really solid guess, but untrue in this particular case.
[00:33:52] Speaker C: Was it because of the song they sing?
[00:33:53] Speaker B: Nope.
[00:33:54] Speaker D: Oh, Mercedes McCambridge.
[00:33:56] Speaker B: Well, that's up there, but nope.
The reason I picked it.
Snowstorm.
[00:34:01] Speaker D: Oh, I should have remembered.
[00:34:03] Speaker B: Oh, yeah, snowstorm. I was like, ah, this takes place in a blizzard. Let's go.
[00:34:07] Speaker A: We're good.
[00:34:08] Speaker B: We're good.
[00:34:09] Speaker D: It's practically Christmas, right?
[00:34:12] Speaker B: And that was also the one where for some inexplicable reason, the headstone flies into the house and kills them.
Yeah.
Like no explanation. And I know it's supernatural. Brush their head.
[00:34:27] Speaker C: Oh, it's terrible. This is gory.
[00:34:29] Speaker B: So weird.
[00:34:30] Speaker C: Awesome.
[00:34:33] Speaker B: But I listened to a lot since then, of course, and for this I listened to probably 10, 12. I don't remember, but it was a lot. I was like, oh, what is going to be my lights out revisit?
And settled. Not settled, but chose this one. Immediately after listening to it, I went, there it is. All right. So now as I love when I bring them to the. I have no idea what you guys will Think of this.
And you have no idea why I brought this either. I loved it and I go, oh, I hope you guys love it too. Or I thought it was so terrible I wanted to see your reaction to it.
So I'll tell you later, but what did you think?
[00:35:14] Speaker D: Oh, I have to immediately thank you for making up for the dearth of Vincent Price in last week's episode by choosing a lights out that stars the great Frank Lovejoy.
[00:35:26] Speaker B: Speaking of Mercedes McCambridge.
[00:35:28] Speaker D: She shows up in the commercial.
[00:35:29] Speaker B: She's in the commercial in this? Yeah, yeah.
[00:35:31] Speaker D: I was surprised to see her in such a small role.
[00:35:33] Speaker B: Right, right.
[00:35:34] Speaker D: But it was cool.
[00:35:34] Speaker C: Yeah, yeah.
[00:35:35] Speaker D: She's all tiny and emaciated, in need of ironized yeast, in need of five new pounds of flesh.
Five pounds of good new flesh, I should say. I want to write a lights out tribute script sometime called 5 pounds of good New Flesh.
But I will tell you and we'll go into details, I really enjoyed this.
It was one of those ones that the entire time I was going, I like this, but where you going, Arch?
[00:36:10] Speaker B: Right.
[00:36:10] Speaker C: That was exactly my experience. I imagined myself sitting next to Arch Oblor. What are you doing?
[00:36:16] Speaker D: Is it gonna be that Rocco or whoever he is, his cellmate, is he gonna be Mark Street? That's disappointing. Don't do that. Okay, good, good. Don't be lame. Don't make Mark street an address. That would be stupid. Don't do that.
Bit by bit I was like, what are you going to do?
[00:36:33] Speaker B: What are you going to do?
[00:36:34] Speaker C: Yeah, this fully Arch Oblor to like, I will go where stories can't go. I will do what stories can't do.
[00:36:42] Speaker B: So, yeah, I'm really glad. When I finished this, I went, oh, my gosh, I love this.
[00:36:51] Speaker C: Pull you into the void and kill you.
[00:36:54] Speaker D: Yeah.
[00:36:55] Speaker B: Now I'm gonna.
[00:36:56] Speaker D: It's really brilliant because the lack of a twist.
[00:37:00] Speaker B: Right.
[00:37:00] Speaker D: Is the twist.
[00:37:01] Speaker B: Yes, exactly.
[00:37:03] Speaker D: He tells you at the top exactly what he's gonna do. I'm gonna kill him. He said, I'm gonna kill him, I'm gonna kill him, I'm gonna kill him. And with Arch Oblor, that's that kind of repetition he uses a lot. And so you kind of think, okay, yeah, but you need a big twist for the gong.
Right, right, yeah. And to just go Tarantino on it with the extreme of like, I'm gonna stab myself in the heart and I will follow you into death. It reminded me of the Inglourious Basterds of the machine gunning Hitler. Kind of overkill quality I'm sorry we derailed you. Sorry, sorry.
[00:37:36] Speaker B: No, you didn't derail me at all. This is fun. I have a question because I am not a Lovecraft aficionado, you guys. Everything I know about Lovecraft has come from the both of you in this podcast, I've learned to appreciate a lot of it and some of it I love, but it is a difficult slog at the beginning to get through. Lovecraftian. What is happening? What's going on? Where are we?
The ending of this, correct me if I'm wrong, seemed Lovecraftian in the sense that it's dreamlike or it's not of this world, it's not of this reality. It's not based in anything truthful in the sense of a reality. It's unreal. That's why Lovecraft's so hard for a Lovecraft virgin, so to speak, is because you can't go into it saying, where are we?
[00:38:32] Speaker C: It's purposefully.
[00:38:34] Speaker B: It's purposely everywhere and nowhere at the same time. And there's no boundaries to it in a lot of ways. What was the one we listened to.
[00:38:41] Speaker D: Where the guy just kept climbing the outsider.
[00:38:43] Speaker B: Yeah, where are we? Alice in Wonderland kind of effect?
[00:38:48] Speaker D: Now that you mention it, I would say say it does have a little quality of the outside.
[00:38:52] Speaker C: Reverse outside.
[00:38:53] Speaker D: Yes.
[00:38:53] Speaker B: Yes. Thank you. So we know that this is all based in reality the entire time. It is a truthful.
[00:39:01] Speaker A: This is.
[00:39:02] Speaker B: This all could be happening. This is all good. But then when he stabbed himself, you could end it there with, he's so crazy, he killed himself to take it to the next step of, well, obviously he's going to go kill him in that.
Whatever the next world is is where this thing takes a turn that I adore so much that.
And it's not presented as, wow, there's an afterlife. It's printed as, yes. And now the afterlife, like, is matter of fact stated.
[00:39:33] Speaker C: And one of the things I enjoyed about that arc is that there's part of me going, this story might be of someone who just snapped, but where did he snap? Like, where did.
If he's delusional about the story, if the story is a fever dream, where did it kick in? I can't tell.
[00:39:53] Speaker B: Right.
[00:39:54] Speaker D: And those are my suspicions the entire time. I didn't want to like it because I just, for some reason, was convinced Ober was going to disappoint me.
Oh, it's going to reveal. He's in a psych ward. Oh, he's going to dig up the body and it's Going to be himself. And each step it would avoid the disappointment and go one more step.
[00:40:13] Speaker C: The story was as relentless as the character.
[00:40:16] Speaker B: Yes, you're absolutely right. In I went, oh, the cellmate's Mark Street.
[00:40:21] Speaker D: Yeah.
[00:40:22] Speaker B: I was convinced. And then when he drowned him in the escape, I thought, that's what this. He's gonna find out that he got him. He got Mark street, and that's gonna be the ending to this. And when that wasn't it, I was like, what?
[00:40:39] Speaker D: Like you said, it's a visceral thing to have him stab himself.
And it could have ended there, and.
[00:40:46] Speaker B: It could have ended there.
[00:40:47] Speaker D: And it could have been ambiguous, to Tim's point about maybe he was delusional the whole time. But Ober does not want you to think anything other than, no, Mark Street's the killer.
And this is a loyal husband who will go to his death to seek his revenge. And I like that he wakes up in the afterlife and Marie's there, who gets to play a part, and she's like, there he is.
[00:41:11] Speaker B: Right. He's right here with me.
[00:41:13] Speaker D: Yeah.
[00:41:14] Speaker B: I also like the beginning. The very first sentences are average people, little people who don't rise to very big things can when they are wronged, and makes the comparison to the war that we're in. We have all risen up because we've been wronged, and we've come at this with vengeance, with a newfound strength.
And that's what he's pulling from for this man's motivation. He did truly love her. He is wrecked by what this man has done to him. And as you said the whole time you're going, are we going to find out he did kill his wife? Are we going to find out? You know, all those things you said, and it was so satisfying to not be any of those guesses. And I think that's what was so fun about it. All of our guesses were wrong.
[00:42:12] Speaker C: Interesting. I mean, in that context of I'm an ordinary guy and his journey, this is like a mythological story.
I have to cross this river.
[00:42:22] Speaker D: Campbell.
Hoo ha.
[00:42:25] Speaker C: It's a real hoo ha story.
[00:42:27] Speaker B: But you're so right. There's so much mythological, you know, from going through so many trials and tribulations to get to the Odyssey is what I was thinking.
[00:42:38] Speaker C: Oh, yeah, yeah.
[00:42:39] Speaker B: It's got that feel to it of this epic journey.
[00:42:43] Speaker C: And I did not recognize it till it was done right. I just thought it was events happening to a guy who was maybe crazy.
[00:42:51] Speaker D: Because I think from our point of view in time, the Fact that he never stops or wavers seemed a little odd or suspicious to us. Right. Partly it's just our perspective on human nature, but partly our expectations from drama today.
Anyone who is obsessively pursuing someone, there always has to be a story beat where they're like, question what they're doing and they have to be redirected back on the quest and proven right in it somehow.
And so it's. I think it's used to make a character like that more relatable. But here, I think, to Eric's point about that preamble, connecting it to the war, he wanted people to tap into that sense of urgency and drive and commitment.
[00:43:38] Speaker B: Yeah.
[00:43:39] Speaker C: That was another bonus for this.
I know that the actual character's name is Mac Grogan, not Mac Grogan, but I kept imagining the scorpion. The Spider man villain whose actual name is Mac Grogan.
I will hunt him down till death.
[00:43:59] Speaker D: You were probably the only one thinking that.
[00:44:03] Speaker C: I probably was, yes.
Because the actors from the movie's got him back, apparently in the next Spider man movie, the Scarred Face.
[00:44:14] Speaker B: Yeah.
[00:44:14] Speaker D: I was really enjoying this podcast up to about two seconds ago.
And as we mentioned at the top, the commercials are great. The ironized yeast.
[00:44:26] Speaker A: Yeah.
[00:44:27] Speaker D: I had this horrific moment. I'm laughing at this commercial. These kind of. These weakened people who need their vitamin B and iron. And I was actually having dinner while I was listening to this the first time. And I am currently on this very hardcore vegan detox. And guess what's important when you're on a vegan diet to make sure you get from other sources your vitamin B and iron.
[00:44:54] Speaker A: And I actually have.
[00:44:55] Speaker D: And it all came together. It never dawned me. I have nutritional yeast that has added B vitamins in it that I will put on things. And I'm like, oh, my gosh, I am Mercedes Benz.
[00:45:09] Speaker B: I'm so.
[00:45:10] Speaker D: No soldiers are gonna wanna dance with me.
[00:45:13] Speaker B: I'm so glad you're not inviting me over for dinner.
Do you know what I had today?
[00:45:19] Speaker D: Yeah.
[00:45:19] Speaker B: Little Debbie Christmas trees.
I love a Little Debbie product.
[00:45:25] Speaker C: A lot of vitamin B in that.
[00:45:26] Speaker A: Oh, yeah.
[00:45:28] Speaker B: I think there's also something lovely.
I don't know quite how to put this because it's not mundane, but it is in the escape.
Okay. I got a plan for escape. I know some things about this exercise yard.
And they get there and it's all going as planned. And they lift this thing up and it has nothing to do with anything to have it slammed down on his fingers. I'm waiting for. Oh, they heard him scream. And they come in and they stop the escape. Do you know what I mean? What's the reason for having that slammed down on his fingers? And then they move on, okay, we'll try again. And then they get it up.
It's reality that happened, but it didn't stop the escape. So it wasn't imperative to the narration or to the plot at all.
[00:46:18] Speaker D: I think what it is is imperative to lights out as a horror program and to lights out reputation. And I think that's one of the things I appreciate about Oblor is no matter what big idea he is going for, he never forgets that, okay, this is a horse.
[00:46:35] Speaker B: So we have mythology and he smash.
[00:46:36] Speaker D: His fingers and he does it well. I mean, that was excruciating. And I think the detail that made it excruciating to me was the fact that he couldn't cry out.
Like, I intellectually went, that's awful and gross. Until his cellmate said, quiet, they'll hear us. And for some reason that made it really visceral. The idea of being in that much pain and having to hold it in was worse than the initial slam to me. So he's just good at that. And I mean, he takes his time drowning that guy.
[00:47:06] Speaker B: Oh, yeah.
[00:47:07] Speaker D: When it comes to horror, he is fully committed. Just the scenes of him recounting hearing the murder of his wife are pretty distressing too. The muffled cries and voices from the other side of the wall.
[00:47:20] Speaker B: And she was stabbed in the face.
[00:47:22] Speaker C: Yeah, yeah.
[00:47:23] Speaker D: So this is lights out right as we know it.
[00:47:27] Speaker B: Those details that are unnecessary, yet weird thing to say, but quite lovely when you're telling a horror story to be those details.
[00:47:37] Speaker D: And it's a really small sound effect, but there's a stabbing sound effect in the afterlife that has this just tiny wishing sound that is just surreal enough in the afterlife that it's effect, but just real enough that it's grounded a little and you recognize it as a stabbing sound.
[00:47:56] Speaker B: I can make the argument that the slamming on the fingers of the escape hatch is to show how committed he was to continue forward. Oh, yeah, you know, ow, my hands are broken, my fingers broken. I don't care. I'm going. I'm sorry. So determined that that won't stop me. So that might be plot wise, why it's in there.
[00:48:20] Speaker C: I'm also always reminded of this story, in particular the stories of Arch Oblor I write stories by. I lie in bed and I speak into a dictaphone or just like the story is the way it is, because I imagined it this way as a whole and did in crafting it later.
I'm not there. Like, this is not necessarily going to edit it out. It's in the moment and experiential.
[00:48:45] Speaker B: Just his screaming leaving the courtroom was.
[00:48:50] Speaker D: Something that struck me because I think Frank Lovejoy is a fantastic actor.
It sounded. And maybe he went this far as an actor, but I could hear in his voice, people holding him down as he screamed.
[00:49:04] Speaker B: Isn't that incredible?
[00:49:06] Speaker D: You absolutely can see if he asked somebody to, like, pull his arms back while he did that, but it just. I could just see it in his voice.
[00:49:15] Speaker B: That's really odd thing of.
[00:49:17] Speaker C: You know, a voice is made up of lungs and all these different little bits and if you pull your shoulders back, it's going to shape the sound in a way that is different.
[00:49:26] Speaker B: Yeah.
[00:49:27] Speaker D: It's a good reminder not to feel ridiculous on stage when we're performing, to move around a little bit more and to writhing. Contort your body when appropriate.
[00:49:37] Speaker C: Yep.
[00:49:38] Speaker B: I have had moments performing on stage where I'm doing that and have a moment of, oh, am I being silly? And then going, I don't care, I'm gonna be involved.
[00:49:50] Speaker D: They already did.
[00:49:51] Speaker C: Definitely held me down on stage before.
[00:49:54] Speaker B: Right.
[00:49:55] Speaker C: Sir, you are not in this production.
You need to leave.
[00:50:02] Speaker D: I do. Love in the end, when they go back to Oblor and the announcer is like, whew, Mr. Obler, do you really think that revenge can go beyond the grave? And he's like, I like to think it doesn't.
I'd like to think that there's peace and mercy and forgiveness. Unless you're a dirty Kraut. You know, it's the arc of his final but buy those war stamps because we're going to murder them.
[00:50:33] Speaker B: All right, should we vote? Yeah, you get to start.
[00:50:37] Speaker D: Oh, it stands the test of time for sure.
And that's a bigger compliment than usual because I think it is also so of its time while also still working today, which is a more delicate needle to thread.
Part of my enthusiasm may be born out of how much skepticism I had as I went along, but I'm leaning toward that ending is amazing. It has Frank Lovejoy, who I love. I thought his performance was perfect.
And a little bonus. Mercedes McCambridge. And I struggled to put this into words, but I feel like that end in some really specific way yet elusive way, demonstrates, I think, one of the unique aspects of radio drama. It.
If this were a film or a television show or a stage play, I don't think in the last few moments of a Drama, you could switch gears like that.
It's because it's theater of the imagination. And once it has your imagination, once it has made you sometimes unwillingly a co creator in this process, it has that power to make you go along with audacious or bold choices in a way that other mediums can't. And so I think that's one of the reasons I think classic on this.
[00:52:10] Speaker C: Very much similar vein of. I think it succeeds very well. And part of what really, really knocks it out of the park is it undersells at the top that it seems like a vaguely run of the mill kind of revenge story. I'm going to jail for a crime I didn't commit. And by the time you get to the end, it's like, this is epic. This was an epic story.
[00:52:36] Speaker D: Yeah.
[00:52:36] Speaker C: I might go classic. I mean say classic because if it hadn't undersold at the beginning, I might not be quite so much of a cheerleader. But it really. It took me on an amazing journey.
[00:52:52] Speaker D: Yeah. And I think I would give this to someone who is unfamiliar with Radius to show them this is what this medium can do in a way that is very unique.
[00:53:02] Speaker B: I will vote that it is a classic. It's one of the least top 20 favorite things I've ever listened to. I found it by accident. I was so happy to stumble upon this gem and. And stands a test time, of course.
[00:53:17] Speaker D: But like when you say by accident, like you tripped over it in a parking lot.
[00:53:21] Speaker B: I kind of. When you're just randomly picking up Lights out episodes and going, well, how about this one? How about this one? And you. No, no. Like, oh, so it's accidental in a certain way. But yeah, I. Classic. And by far the best episode of Lights out that I've heard.
[00:53:38] Speaker D: I think this is your new favorite. Lights Out.
[00:53:40] Speaker B: I think so, yeah.
[00:53:41] Speaker D: I mean, it has a Spider man villain. Yes, yes.
[00:53:44] Speaker B: Because of the Spider man villain, for sure.
Tim, tell him stuff.
[00:53:49] Speaker D: Please go.
[00:53:49] Speaker C: Visit ghoulishdelights.com home of this podcast. If you want to go back in time. Go back and listen to our second episode. Listen to the what we discussed about the original Lights out episode we brought Poltergeist. You can compare and contrast. Like, are they any smarter? Did they get any better?
[00:54:05] Speaker D: Nope.
[00:54:05] Speaker C: Nope.
[00:54:06] Speaker D: Please submit your essays to.
[00:54:10] Speaker C: You can find all the different episodes you listen to and listen to all of our stupid opinions.
You can do
[email protected] or you can just find our podcast wherever you get your podcast. That's fine. We don't care you will
[email protected] though find a link to our store. You can get some swag items of use with our logo on it. That's what you want.
And you'll also find a link to our Patreon page.
[00:54:33] Speaker D: Yes. Go to patreon.com themorals and pay us for all our stupid opinions.
That's right. You can become a member of the Mysterious Old Radio Listening Society. And membership has its perks. You will get so many bonus podcasts.
You will get access to our Discord server where you can hang out and chat with your hosts and other great old time radio fans and fans of this podcast. Join us for Zoom Happy Hours to hang out and chat Zoom Book clubs so much.
Become a member right now. Don't even listen to Eric's boring spiel. You know what it is? Turn this off right now and become a member.
[00:55:23] Speaker B: Here's my boring spiel.
[00:55:24] Speaker D: Yay.
[00:55:26] Speaker B: The Mysterious Old Radio Listening Society Theater Company does live recreations of classic old time radio shows and a lot of her own original work on stage. You can come see us performing audio Drama live by going to ghoulishdelights.com and that's where you'll see when we're performing, what we're performing and how to get tickets. But we perform a lot throughout the course of a year, so there's always an opportunity to come see us. If you can't, being a Patreon gets you access to the audio recordings of those live shows. What are we doing next? Here it comes. Here we go.
[00:56:02] Speaker D: Next is episode 400 and we are going to be revisiting Suspense because it was the first episode of this podcast and I unfortunately chose that episode. So I need to pick an episode to go along with the house in Cypress Canyon. So we will be listening to what I believe to be a truly one of a kind episode of suspense called Fury and Sound. Until then.
[00:56:34] Speaker A: The girl on the bed, her head.
It's crushed flat in by a rock.
God in heaven.
It's not a rock, it's a tombstone.
[00:56:54] Speaker B: No explanation. I know it's supernatural. Crush their head.
[00:56:58] Speaker C: God. Terrible. This is gory.
[00:57:00] Speaker B: So weird.
[00:57:01] Speaker C: Awesome.
