Lights Out - Old Time Radio Horror

Ghost on the Newsreel Negative - Lights Out | 08/10/1946 (6)

Hope you enjoy this episode of Lights Out! We offer an old time radio horror and thriller and other OTR radio stations at theaterofthemind-otr.com - Audio Credit: The Old Time Radio Researchers Group - All Podcasts @ Spreaker | Apple Podcasts | YouTube Music

Duration:: 29m
Broadcast on:: 15 Sep 2024
Audio Format:: mp3

The National Broadcasting Company presents Lights Out, a summer revival of the famous series which many of our listeners will remember. The night story, the sixth in the series, is called The Ghost on the Newsreel Negative. Lights Out, everybody. [SOUND OF WITCHING] This is the witching hour. The hour when dogs howl, and evil is let loose on a sleeping world. Sit in the dark now, and listen to lights out. Well, where do you suppose we are, Martin? I don't know where we are. You're the driver. Yeah, I'm the driver. Only you're supposed to tell me where you want to go, you know. I told you. Yeah, you know what you said? You said we're going to a farm out on Route 330, about halfway between Dundee and Algonquin. I remember the year. And I'm supposed to be a mind reader. Sure you are. Well, I would be if you had a mind to read. Nuts, Mr. Litt. And nuts to you, Mr. Bonette. Hey, what about there? How do I know? Oh, I should have known that. Well, you're a wise guy. You're the great cameraman. You know everything. Oh, shit. Well, look. We're about halfway between Dundee and Algonquin now. The sign of Dundee said five miles to Algonquin. And the speedometer said, nine three, three, three, one. It says nine, three, three, three, three now. Trudy, you can read. Well, listen, half of five is two and a half. Uh, yeah, that's right. And 93,331 to 93,333 is two miles. Uh, yeah. Therefore, Mr. Bonette. Therefore, I'll bet you that that place right up there is the place where we're going. Huh? What place? Oh, yeah, yeah, I guess it is. Now, we've got that settled. What are we going to do when we get there? I am going to make a story. And you're going to catch the noise on it. You killed me, Martin. All right? Now? Huh? No. I mean, what kind of story? Ghosts. Ghosts. Or goats. Oh, I know that story. Ghosts. Hey. Do you believe in ghosts? Well, uh, I ain't ever seen one. But don't let that worry it. You're gonna? It says you. I don't want driving that dude there. Oh, that one, dummy. I got it. Where's these ghosts? Don't you ever read the papers? I don't get enough money to buy papers. What's at a band? This here. Hey, stop right there, I guess. This here is the ghost fund. Yeah? So what? So, we come to make pictures of the ghosts. A set up a bar here, I guess, where we get the old house and a barn and a picture. I'll go see if I can find anybody. Don't seem to be anybody around. Must be somebody. I'll go see. Don't get bit by ghost. I won't. Here, let's make it as snappy as we can, huh? So we can get back to town. What's the matter? Well, kid, do you ever see such a deserted-looking dump? I wouldn't be surprised if a ghost jumped right up out of the ground. What, you fellas, what, you? [Laughter] Hey, where'd you come from? [Laughter] I was right around on the other side of the wagon. What, you want here? Uh, I, uh, I'm Martin Bonetta, Tarragon News. This is, uh, Whit, my noise catcher. Uh, hello. But you want? Well, is this the, uh, ghost one? [Laughter] Ghost farm? Where'd you get that idea? Well, tapers. Oh, yes. All them silly stories and the papers. [Laughter] Yes, I guess this is the place you're looking for. What you want? Well, we, uh, want to make some news, real pictures. You know, movies. Um, I was looking for Mr. Tracey. Tracey? Yeah, I found the place. Oh. He ain't here. He, uh, hey? No. Well, uh, maybe this guy, uh, gentleman can tell us, Martin. Oh, yeah. Say, uh, about this. Ghost business. Is it a real ghost, mister? Is there a real ghost here? Do you know anything about it? Do I know anything about it? Mm-hmm. [Laughter] I am the ghost. [Laughter] Oh, my gosh. He scared me out of six years' growth. He said he was the ghost man. What about me? I swallowed my chew on tobacco. I had dog on old fool. He's got the dirtiest laugh I ever heard in all my life. He ain't either. I wish it'd come back. I want to get to the story, Nate, and get back to town before I get to dark. You're better if they're going to get out of special on it tonight. Yeah. I don't know why I read, don't think of these men soon out. Yes, these brainstorms all of a sudden, they didn't want to get stuff out for every finish of cargo by three o'clock yesterday at the moment. And the great finder has to go out and shoot 'em. So, shut up and wind up your coat edge. Uh-oh, it comes all screwy again. It's about time. Hey, uh, what, what exposure would you give out here? Um, about, uh, four-five, I think. It's getting kind of dark. Think five-six would do it. You're the camera, man. If you don't get your shots, it's you, Red will murder. Maybe it better be four-five. Well, are you ready to make your movie bitches now? Oh, yeah, yeah, if you are. What do you want me to do? Well, first I want a shot at a house in the barn. So, you better go back and come walking out of the house and I'll pan after you while you walk to the barn. Then you can come over here and I'll make an interview. Hey, wait, you can talk to him, huh? I suppose so. I don't get paid for it, though. Oh, no. Let's go ahead, mister. Hey, just walk out of the house to the barn. Yeah, that's right. I'll holler for you to come out. Yeah, all right. That's why I think this is enough to scare anybody. No wonder people think he's a ghost. He's not here in the food cake. So what? So are we. Oh, we get out of a newsreel business. He's waiting for you, hot shot. Oh, you all said? I've been all said for an hour. Oh, all right. There we go. Oh, I had, mister. OK, OK. Oh, come on, back, mister. Don, if you don't look like a ghost, this whole place looks ghostly enough for me. I'll be grabbing when we get back to town. Me, too. Did you get it? Did you get my picture? Sure, we never miss much. What do you want me to do now? Well, look, like you stand there. No, no, no, no, there. Listen, when I start the camera, you're just telling your own words how you do this ghost business, will you? You want me to talk? Yeah, that's it. Set the microphone over closer. Yes, mister. Put it on the running board. Yes, mister. You just want me to talk. That's it. I just tell her I'm the ghost. What a dude, everything. Yeah, yeah. And then in a minute or two, Mr. Whittle, step up alongside you. He'll ask you some questions, all you've got to do is answer them. You see what what? Yeah. If you just say, what's what? I'll motion to do it when you're to step in. What'll I say? Who do you think of something to say? You're the smart sound expert. It's nuts. I ain't getting paid for that. You do what you're told. Yes, mister by that. Yes, mister by that. Shut up. Yes, mister by that. Are you ready, mister? Yeah. Yeah, mister. Yeah. I'm ready. No. Well, okay. Dude, I think I'm dirty laughing yours. Go ahead. No. No. Yeah, no. I'm running. (laughter) Yes, mister. I'm the ghost. I'm the ghost that haunts this year, please. You want to know how I do it? Where is it? At night I go around and look into windows. When people see me staring in with my eyes all wide like this. (laughter) When they see me, they scream and shiver. I like to pass out. Yes, sir. I'm a ghost. A dog. A good ghost if you ask me. (laughter) Go ahead, wait. And how long have you been haunting this far, mister ghost? Yeah. More years than you think I've been a haunted. Yes, sir. Is that so? You suppose you could give us a sample of your very ghostliest laugh? Ah, sure, cute. (laughter) You like that? That's fine. And do you believe in ghosts yourself? Do I? Do I? I am a ghost. (laughter) Okay. Oh, okay. That's enough. My gosh, mister. Much the matter. I scare you. (laughter) I don't scare you. You don't know. What's that behind you? (laughter) Oh, talk on your way. (laughter) What's left behind you? (laughter) Look, mister, I'm sorry. Don't do that again. I won't, and don't do any more of that laughing again, mister. (laughter) What's that? (laughter) That's my sister. Is she her sister? She helps me haunt the place. Have you got a sister? What? She's in the house there. She's bedridden, though. She ain't been out of bed for 29 years. She? She? Oh. She screams right well enough, though, don't she? She sure does. Hey, Martin. Listen, that would make us well shot too. The old gal and him in that old rattle trap house. Yeah, yeah, only how we gonna do it. Well, I'll put some photo floods in a reflector and run 'em off the battery, huh? Well, yeah. Yeah. You oughta take some pictures of my sister? Uh... Yeah. Huh. What? Go ahead, what? Sure, this ought to be a swap. Mm-hmm. Go ahead. Well, let's wait 'til I get the lamps. Yeah. You'll be tickled by sister, little. You ain't had her pictures of such a little gal. Yeah. Oh, gosh, what if Fred doesn't like this story out there? Uh, go ahead, too. Shall I take some on this, too? Might as well. Uh, got a longer up line? Yeah. Yeah. You go ahead with the camera. Uh, uh, step right this way, mister. Go ahead. But, suppose the old gal is none of you seeers. Well, am I gonna be glad to get out of this? Yeah, me, too. Right in here. Careful of the back porch. The board is kinda rotten. Ellie! I broke a couple of young fellers. Wants to take your picture? That's fine, family. I'll hold the door open. Go ahead. Here, feller. Kind of dark. We got no electric lights. Which way not? Right in here. Careful of you, don't. Buck yourself. Yeah. Where are you with? I'm coming. It's got no lights at all. Not a darn thing. Hurry up with them photoplugs. What? I'll be right there. Do you bring your own lights, mister? Yes, ma'am. I hope they won't blind you. They're pretty bright. Ow! Ooh! Shall I set them up here? Get off my foot! Oh, is that your foot? What'd you think it was? I thought it was a suitcase. You'll be careful now. Stanley, you tell 'em to be careful. I don't want you to set fires in awesome. Hehe. They'll be careful, Ellie. This is the darkest place I've ever been in my life. Think I like it? Where's your lights? Is that fire to knock 'em? We won't. Just a minute now. Who and I have my picture to. Hehehe. You can tall quabs there, making the picture, Ellie. Gonna make a move and picture on me. Already, Martin. Already. Turn your lights on. Mmm. All right, anybody there? Oh, my. Oh, just be patient. She may. Oh, I can't hear you. Hey, hey. Is that boy? I heard her. You boys worry now. They're right, maybe. Just to be the right. Ellie never was one to shine out very strong. Martin. Martin, what do we do now? I know what I wanted to look at. I'm not making your picture. That's what you can be in here. Very handy. Picture box. Why, Ellie? Oh, of course. But thank you, thank you, nobody there. Oh, I guess there is. If you don't believe me, I'm-- Look, look at these covers. Martin, look, not about covers of space. They say, "Mmm." Yeah. Oh, my God. Very young man. Maybe that'll convince you. Well, let's get on with it. Yeah, thanks. Danny, is my hair all right? No, Ellie. Look real pretty. Look, sister, are you sure young man? I'm losing patience. You want to come in here and get a picture of my sister? Well, take it. I don't care. She's there. This is plain as the nose on your face. Uh, plainer than your own. Well, but I think you said it, it's just like this, it's just like this, it's just like this, it's just like this, it's just like this, it's just like this, it's just like this, it's just like this, it's just like this, it's just like this, it's just like this, it's just like this, it's just like this, it's just like this, it's just like this, it's just like this, it's just like this, it's just like this, it's just like this, it's just like this, it's just like this, it's just like this, it's just like this, it's just like this, it's just like this, it's just like this, it's just like this, it's just like this, it's just like this, it's just like this, it's just like this, it's just like this, it's just like this, it's just like this, it's just like this, Okay, yeah. Point it. Hello. Hello. Would you mind telling me your name? Oh, sure. What, Meg? Well, can you tell me just how you go about this holiday business? No, I don't mind. Well, I mean, how do you do it? Well, first I start off by being an inventor, Bob. You mean like you are now? Did I show it at all? No, no, you weren't showing. Yes, like that, Meg. And then when I find someone I want to stare, I just make myself miserable like this. And I scream like this. [Whistling] Hey, can we go any faster? I'll come stand myself now. Don't use that word. Oh, like that. This will be back in town, huh? I never thought that they would come without me glad to see you all back to everything. What the fuck did you think? I don't know. She screamed, but I just went out. But I started running. Fine thing. So what did you do? I just grabbed the camera, started running. That was better, huh? Well, at least I got the camera. I was just dropping yours to the center of the island, another assignment like this, huh? Not, not quick. And if we don't get a bonus for this super film, I'll quit too. Where's the film? Here, Red. Here, how? Everything was over me, isn't it? It's okay, man. Is that okay, everybody? There's some type on it, which type of picture? Yeah, think so. Yeah, think so. What's that double round? I think it is, Red. Red. You got a drink? What's the matter with you, too, Lucas? Yeah. You talk about it. Uh... Uh... You talk about it. Didn't you? I kept up there. Go on down there. Hell, I kept that film into the soup and don't turn on no red light either. That's super expensive. Uh... Here, there. Well... Speak up. What's the matter with you? Didn't you get the story? Uh... I think we got it, Red. You think so, huh? Well, we got it, Red. Uh... We got it. Uh... Do we have a drink? There's the water cooler. Oh, red. Oh, right. There's a bond with my dear. Let's come on, Red. Wait a minute. Wait a minute. What's this all about? Red. That's it, Red. Just a little. Well, ain't that just a danger? Did you see it go see both of you or something, Martin? Sure. Probably. I should say so. Well, that's just a... Oh, what? You first face something on the bottle. If you have... Oh, no, no, no, no, no. Yeah, that's what it's really... Yeah, that's what it's really... Well, what happened, man? Well, first of all, I'll tell you. That old guy out there. What? Old guy out there. The old guy? How does the ghost run? Well, what about him? He's... He's... He was... Oh, man. Uh, yeah. He's a scariest looking guy you ever see. He's our old screwy guy. He's not yet on a noise catch. Uh... And he's an unsolored... He's never a minded religion. Go on. Well, he's... He goes around a hundred... And he looks just like a real ghost. He's got the chickens out of it. Wait a minute. Now, one at a time. What did he do? Well, it's not his thing. He's almost taken us into the house where he said his sister was. And we could hear a crocodile at him, too. And when I turned on the light, there was nobody there. What? That's a fact, Red. He ran out of the system. And you'll bend drinking again when I told you either. Then look below and take it on the countryside. Okay. Wait right here, you two. Uh-oh. Carrot on the roof. Oh. This is Red's caliber here. Oh, hello, Mr. Jamie. What? There you go. Oh, he did it, huh? Everybody here now. Yeah, hold on. Still, wait a minute. Where did you first think it's been this afternoon? Oh, it's a ghost farm, right? It's a ghost farm. It's a ghost farm. Yes, you're about there. Oh, of course we are. We've been live here. They say they're there all afternoon, Mr. Jamie. Huh? Well, call me back in about 10 minutes. I'm going to find out about this. Okay. Yeah. Now you two. He's what this all about. You trying to rev on me? What's the matter, Red? Yeah, what's the matter, Red? What's the matter, Red? That's what's crazy. The guy that owns the ghost farm. He's been waiting since 11 o'clock for you two to show up. And he's been a sign of a newsreel man out there all day. So what's the answer to that one? [roar] [crash] Hi, Red. Can we ride this? Sure we would say. We'll find out whether you were there in about two minutes. You first kind of... Hey, Harold. How about that cell? It's coming out of the dry air, Red. Better have to get ready for the brief. Now bring my negative in here first and run up to the movie owner. Oh. Oh, it could have been at the wrong place, Red. The ordinary city was a ghost. Hey, there. Sure he said he'd done your proof to talk to you. Yeah. Well, we'll see. I tell you, Red, you ain't telling me nothing. Listen. You make us out of that interior? What interior? The interior where you say you heard the old lady and then she was gone. Oh, that is. Did you make a shot of that? Yeah, yeah. We started to shoot. We got about 50 feet with all of us. This got screens. Oh, let's go on. So we just grabbed the equipment and spread. We were scared. I think the bullet blood is still there. Well, for your sake, I hope they ain't. All right. Oh. Oh, yeah. Red. They'll drive. Bring it in here. Oh. Yeah. They're getting up. Hey, you bird. Let's see. Come into the movie owner. Hold on. You gotta picture. Okay. But if you ain't, you better get your handsome coats on and we just make a picture of it. I didn't. We'll see in a minute. Oh, we did. Yeah, yeah, yeah. We'll find out. Look, Red. Listen. You trying to talk me out of this? You do it, Blue. I'll shut up then. Okay. All right. Turn out the lights. Red. On and out. On lights. Now we'll see. Get your skull out of the way so I can see with it. It's a couple of old girls. How's the money? The old guy up here in a minute. Yeah, I hope so. Handing from the house of the farm. What? Yeah. I don't see nothing yet. This is a station now. It's like a movie. I don't know. Blue. Background's out of focus now. Of course, folks. Yeah. Well, where is he? I don't know. I don't know. He'll help you get him. Yeah. This is it. Well, before I happen, Red. I shut it off. Well, listen, you guys. You'll think for one mouthy minute, you can get away with that. I don't know. Yeah, he wants Red. Let's fix it together, huh? Well, you're both mine. Oh, gee, Red. You don't get on a mic right before I... Red, Red. What's the matter? The sound's right, Red. Well, what about it? There's something on it. What? Let me see. Yes, sir. The voice is I can tell. Rewind it quickly. Rewind it. You're pulling it. All right. Now, the speaker turned on, Red. You're missing yourself. How's that about? Go ahead, Red. Turn it off. I'll put it on. I'll put it on. I'll put it on. Just kind of... Take your choice. No sound yet. No. That's... That's just the mic and say it's the following from the host of the band. Now, wait for the background. Just out of focus. That'll be the second scene where the old guy was... Oh, no. Oh, no. What? Listen. Listen. There it's there. I am the ghost. I am the ghost that caught this year, please. You want to know how I do? Oh, yeah. At night, I go around and look into the window. And where? Now, what I want to know is how you're done, Max. Oh, my gosh, Red, I don't know. I will know that it's the front of the camera. It's about eight feet away. That's what he said. Right there. I can't read. [Singing] [Singing] [Singing] [Singing] [Singing] [Singing] [Singing] [Singing] [Singing] All right. You can turn them on now. You just heard lights out of summer revival of the famous series. Tonight's story, the sixth in the series, was called "The Dort" on a newsreel necklace. The Dorton to that way was played by just two. And his sister under the shroud was played by Harriet Allen. Martin the cameraman was played by Lou Krugman, and his noise capture assistant was married for. Brad was portrayed by Boris Aplon. Now, before we close the shutters and shut up shops the night, let me give you a little link for the box to be destroyed. Of course, you'll want to be listening, so I'll just give you a few hints. The story is a very unusual one. It takes place entirely inside the confused head of a hunted man. Nailed Malone is a bad man and a killer. He has no conscience, but there's something there that keeps bothering him because he sits in his dingy, boarding house hideout. And what finally happened?