Lights Out - Old Time Radio Horror
The Coffin in Studio B - Lights Out | 07/13/1946 (2)
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:
- 27m
- Broadcast on:
- 15 Sep 2024
- Audio Format:
- mp3
Flights out everybody. This is the witching hour. It is the hour when dogs howl and evil is let loose on a sleeping world. Want to hear about it, then turn out your lights. The National Broadcasting Company brings you lights out. A revival of the eight best stories in the series which many of our listeners will remember. Well, let's cope with your author and Albert Cruz, your director. Sit in the dark now and listen to lights out. And what will you do if I won't? Something very unpleasant by dear chap. For example, for example, it is quite possible that I will kill you. You'll miss me. No, no, no, no, I assure you I'm quite serious. You're possible. Not impossible at all. May I ask just how you propose to end my life, shall I say? I shall cut your throat. Neatly and as the books have it, with dispatch. You've been reading books then. We're wasting time. What's the answer? The answer is the same as it has always been. You refuse then? I refuse, yes. Very well? You forced me to become a murderer. Cut. Look, I don't want to throw you up on this first reading, but not much is coming through in here. I don't know just how to say it, but it just doesn't gel for some reason rather. Now let's think about these lines. Well, let's hold it in it. What's the matter, George, who is it, Mira? Well, I hate to throw you up on this first reading, but, Fritz, I think it's you. Something wrong. It's the attack on the part, and maybe you're throwing those lines away without any sincerity. There's no menace in the part. You see what I mean? Well, look, let me come on up. Hey, Hammond again, eh, Fritz? Okay, character. I'm a little alone. I'm having enough trouble. Look, he can act. Honest, George, fellas got a card. All right, let's can the funny stuff, Ed. We got some work to do, and I want you to just pay attention if you don't mind. All right. Look, Fritz, how do you feel in this thing? I don't know. It's not right. I don't know what to do, though. Well, you don't sound convincing. You see my point? Yeah. Have you got any ideas on how you might do it? No. Oh, wait a minute. What about dialect? I could do a little German? A German, wait a minute. No, no, no. I don't think I want any German on this thing. I hear too much of that Samosrian. No, no, that's too close to German. How's your French? How's your French? Let's see how your French is. Oh, it's all right. It's all right. No, no, no. Look, I don't want... I don't want to make him too definite. See, he should be a kind of a combination. A lot of man is in there, quiet, but I've got to believe the guy. Make him... Let's see. What's that word? I want him to... No, no, no, no. That's it. Just not too much now. Just a... I don't know. Okay? Let me try it. All right. We'll try it now from the top, huh? Right. Okay. And, uh, what will you do if I won't? Something very unpleasant, my dear chap. For example. For example, it is quite possible that I will kill you. She will amaze me. I assure you, I am quite serious. Okay, call it. How's it doing now? How's it sound? Are you asking me or the director? Well, it sounds a lot better than it did before. I think you'll work into it. Yeah, we'll look here. Yeah, Fritz, I think that'll do it. What do you say we put it up on the mic and let's see how it sounds. Take that whole scene over. How is it for AIDS, George? Oh, the AIDS is okay. I want a little bit of AIDS. Not too much AIDS. Just about right now. My other nose, the way you have it. All right. Rehearsal. Rehearsal. Well, it beats digging stitches for a living. Oh, yes. Oh, does it? Oh, so they tell me. Well, anyway, it's cool in here. Thank the Lord for air conditioning. Oh, shit was 9.30. Okay, characters. Now, give me that after number five. Now, will you? And let's hear it again from the top. And what will you do if I won't? Something very unpleasant, my dear chap. For example. For example, it is quite possible. I would kill you. Sure amaze me. I assure you, I am quite serious. Possible? Not impossible at all. May I ask just how you propose to end my life, shall I say? I shall capture throat. neatly, and as the books have it with dispatch. Oh, you've been reading books, then? We are wasting time. What's the answer? The answer is the same as it has always been. You refuse, then? I refuse, yes. I will? You've asked me to become a murderer. Look, it's you sound about as much like a murderer as I give up. I'm a lover, Mike George. What do you want me to do, growl? No, no, I don't want you to growl. But I do want you if you won't find it too inconvenient to act just a little bit like a murderer. You don't? A murderer? A guy that kills people. Yeah, I want you to make faces for it. Shut up. Wait. I'll come out there again. How are you doing, kid? I give up. I don't know what the man wants. Now, listen, sweetheart, have you the faintest idea how a guy acts when he's going to kill somebody? Have you? No, but I got a hunch. I'm going to know about it in a minute. Oh, that'll be swell. Because the way you're doing it now, a guy thinks that you're Ed's brother or something. Oh, of course. Get it through your thick skull that we've got to show in a few minutes. We're going on the air radio, remember, you see? You're supposed to be a murderer. I know, but it's going to come a lot easier if you can't take it. Oh, you can't take it, huh? Oh, nuts. All right, well, let's try it again. Take it from that line. The answer is the same as it has always been. All right. The answer is the same as it has always been. You refuse? Pardon me. You refuse, then. Hey, George. Oh, far away. Now, what? Well, what do you want? There's no gen out here what to see. What she wants? I don't know. Well, tell him to go away. No, no, wait. Who is he? I don't know. So, what do you see? How can I keep a character? Oh, I don't know. Sometimes I'm wondering. And he said he wants to see Ed, not you. Who is he? Don't give his name. Probably some guy that you owe money to. You should talk. Well, what? Tell him. Well, listen, we're right in the middle of a rehearsal. Go ahead and talk to him, Ed. We can smoke a cigarette to play Tisley. Listen, you tell him to make a snappy. We got to show together. All right, all right. Tell him to come in here, Horace. All right. Well, there you are, Mr. Henry. Good evening, sir. Good evening. Why, uh, I don't believe I've ever had. Don't know me, Ed. Well, I know you, Mr. Henry. Mr. Ed. Ed me. Yes, sir. He owes the old guy dough, all right. I'm afraid I don't know you, sir. I sure come up to show you my book. I figured you'd like to have a look at it now, while you have the church. Just in case you had any choice. Folks don't often have the choice, you know. Choice? Uh, choice of what? No, here. Let me show you the book. I won't be a minute. I don't like to disturb your work, you know. But it's got to be done, I guess. Now, this one here... God's coffin. What? What? It's a catalog of coffins. Tascets, huh? Yes, that's right. Yes, sir. The neatest line of caskets in the country. And nothing but the best. No, sir. Now, let me hear it. This number, A1436, ain't it? Yes. All gray silk, solid silverheads. Say, listen. What is the... Or is this magic? A5499 in mahogany. Oh, wait a minute, mister. What's this all about? Hey, I just figured Mr. Henley'd kind of like to pick yourself out of casket. Well, who are you? So, what about at the book here to show him? That's my tape measure right here in my pocket. Ah, it's a rib, George. Somebody sent him up here. Oh, yeah? Oh, no, nobody sent me. I just thought Mr. Henley... Well, look, Mr. Henley's busy. We're rehearsing a radio show here, and we've got just a few more minutes before we go on the air. So, if you don't mind... Oh, I know. Your rehearsing lights out. I know all about it. Listen, every Saturday night, I like it. All about ghosts and cotsies and things. Yes, sir. Oh, well, that's fine, but we've got work to do now. Well, I'll get right out of here. Just as soon as Mr. Henley makes up his mind. Now, this A1436, I will show you. Listen, mister, I don't want to buy a coffin. I've got no use for one. Do you get me? Salad? Silver-handed. George, this guy's screwing. Oh, no, no, no, no, no, sir. Now, wait. I've got some pictures here in colors. If you like something a little fancier, I've just a minute how did I find it. Prince, go get Horace and have him get this old shit out of here. I think the old guy's crazy. Yeah, yeah, okay. And, mister, did somebody send you up here to see Ed Henley? I mean, no, sir. I told you. I thought he'd up my own self. Now, this here is 6782 with the bronze plate on top. Oh, you like that. Pretty nifty, isn't it? Yes, sir. Listen, I've told you. I don't want a coffin. Oh, you can have it with solid silver plate if you like that better. If I were you, Ed, I'd get the one with a silver plate. Huh? Oh, yes. I'd better like that one. Well, I'd better like that one with a silver plate. Well, that's the one, all right. 86782A with solid silver plate. Yes, sir. Well, that's all I wanted to know. Yes, sir. That's what I come up here for. Well, thank you kindly, mister Henley. I think you'll find it very satisfactory. Sure I will. And thank you, sir. I'll be going now. Thank you ever so much. Sorry to interrupt you. Well, goodbye. Goodbye, gentlemen. Thank you very much, mister Henley. Well, I wonder what goes with that guy. Whose idea was that? Hey, Horace. It's, uh, it's all right, Deflitz. He's gone now. We don't need you, Horace. Huh? Where'd he go? Well, he just went out that door a minute ago. Didn't you see him? No. He must have went the other way. He went out that door right there. Oh, that's funny. We didn't see him. Listen, Horace, was that your idea? Mine? Gosh, no. Hey, I know it's one of the announcers. Why's crackin' guys? I don't think it was so funny myself. Not at this time, a night with nobody else in the whole place. How'd you get rid of him, man? Oh, the old guy was showing his coffin after coffin, and I suggested to Ed that he buy number H, a '67, '83 A. With solid silver plate. So, uh, she said, OK, it's grand. Leave it to me to handle this screwy, guys. I've had experience enough producing shows around here. Thank you, dear. Your birds want me anymore? No, no, Horace, sir. Thanks. Oh, if you see old Joe Coppinsaller again, though, tell him we're not in the market. Now, come on, let's get to work. Yeah, at about time. Where do we start? Uh, they're on, uh, page six, line five. The answer is the same as so on, you know. All right. The answer is the same as it has always been. You refuse, then, eh? I refuse. That's the next time true. Very well, then. You force me to become a murderer. No, you force me to become a murderer. You force me to become a murderer. Yeah. Go on. I don't know you. You know the penalty for murder in this country? (LAUGHS) Put down that knife. You have had your last chance. (LAUGHS) No, don't you. I warned you. I warned you. No, but you would not. Help me! Sir! Cut, cut, cut, cut, cut. Oh, what? Now, listen, we got a plant that knife somehow. Holy smokes, George. I can't say it. I am now about to stab you and just hear a positive knife, can I? Uh, well, that's a trouble with writers. No imagination. Let me see now. Well, I could say, drop the knife again. Oh, no. Let me think. Take, take, take, take. Shut up. Sorry. Oh, I got it. Oh, look. Why do sound effects guys have to go on vacations? Is there a knife out there someplace? I don't know. I'll look over here. Let's see. Yeah. Here's one. Oh, what kind is it? Pocket knife. I think I just dropped it with my pocket, too. Then what the knife like this? Well, let's see it. I got ten dibs on it. Well, now look. You hold it up close to the microphone and open it. Make it click. And I'll go to the control room and push it. Very well, Austin. It'll probably sound like a door opening. So what? It's more than the door opening gag we got, sounds like. All right. Let's hear it now. Open it up. No, not so loud. Try it again. Okay. Now, Brit, say you put that effect in just as you start to struggle. Goodness. Well, no, no. Help, help, that business. Yes, yes. No. No. No. No. You would not listen to me. No. No. Stop. Stop. Stop. Stop. Oh, oh, yeah. Okay. Stop. Stop. You better fold out on the floor, Ed. It'll sound better. Why is it I always have to do the falls? Go on. Go on. Uh, nuts. Okay. Okay. Now, uh, how are we going to ring that gum? Oh, I don't see why we can't get some help on this show. Why don't you get a horse? That's an idea. I'll go get him. Oh, gosh, I'm tired. I was here at nine this morning for an audition, and I haven't even had time to get any dinner. Actors, the idol, Rich. Says you. Say, who do you suppose sent that dilly old bird up here? I don't know. A lot of funny jokers around the shop. The good gag for this show, I guess. Except I don't suppose it'll be so funny for the old gent when he finds out it was a gag. Yeah, it'll imagine it's a very good racket running around peddling coffins. I never even knew they peddled coffins that way. Neither died. Oh, I was reading. The genius. Have a good time to catch up when you're reading after the show's over. I want you to sort that gong. All you gotta do is take the little club and clout the gong when George points at you, Horace. If George points at you, Horace. Listen, who's producing this show? I sometimes wonder. Oh, where's the stick to hit it with? You are practically standing on it. Huh? Oh. All right, now, now, look, I'll go in the control room and you guys go on into the fight. Now, you watch me, Horace, and when I point, you sort that gong. Oh, George, listen, do we have to go through the whole thing again, my throat? No, no, no. That's the struggle, Horace. Now, wait till I get in. Hit it a good bat, Horace. Okay. Okay, struggle. Oh, oh, oh, oh. Oh, oh, oh. Oh. Oh. Oh. Well, pay attention, dummy. Okay, hit that gong. Oh, oh. Excuse me. I was watching it and, Fritz. Well, look, you watch me from now on. I'll give you the cues and you do 'em. You got it? Okay. Let's go. Go, go. Go, go, go, go, go, go. Oh. Oh. Oh. Oh. Oh. Oh. Oh. Oh. Okay. Okay, now, you can do it just like that on the air. You got it? Okay. Oh, I gotta go, George. The phone's ringing in the lobby. Well, hurry up. We're practically on the air. How are you? Oh, I wish I had a cigarette. No smoking in the studios. Fake when spoken to, I was talking to Fritz. Oh, well. There's still no smoking in the studios. Oh, brother. Wanna go get something to eat after the show, Ed? Oh, man. I'm gonna be dead. I'm dragging to... I'm going to say it a little jig tomorrow. Oh, yeah. Well, you can help it. Okay, George, I'm back. Well, look, come on. Will you come on? Hey, you know who that was? Sure. Somebody wanting to know what time Fred wearing's on. No. No, it was. You know what time they're guessing games. Let's go. It was the old coughing guy. You wanted to know, Mr. Haley wanted a silver, or a bronze plate on his coffin. What'd you tell him? Silver, I said. Nothing cheap about Mr. Haley. Listen, you're on the kid, the old guy like that. He's just a poor, harmless, old bird. Besides, the first thing you know, somebody will be knocking at my door, delivering a coffin and collecting money for it. Try and to collect your mean. Listen, you lugs. If you want to play comedy, you put the bite on Don McNeil. Will you? You're wasting your time over on this side. No, let's go to work. Now if that old guy calls up again, you tell him to go jump in the lake. Now come on, look at page 10. We won't have time to take a dress. Top of the page. I want running footsteps. I'll free you. Cross the studio floor up the stair steps. You stop and run back down. You got it? I'll knock you. Okay, hurry up now. Now take the knock on the door and the footsteps coming in. That's bottom of page 11. Now you do the knock, Ed. Horace, you open the door and Fritz, you do the footsteps. You got it? I'll mic you. Okay, keep it that way. She's coming right up now. Fritz, you do the wind machine. Right, right. Ed, you do the chime. Okay. Horace, you sought that gun. Right, George. On your toes now. Ed, mic you, Fritz. Quite everyone. Five seconds. Lights out. Everybody. This is the witching hour. This is the hour when dogs hold. And evil is that loose, unsuipping rod. Want to hear about it, then turn out your lights. Good evening, my dear friend. Good evening, Doctor. Why don't you come in? Thank you. Here, let me take your coat and hat. Oh, certainly. Now you are, Doctor. Now, let's come in and sit down. Thank you. Well... It's all taken care of. Really? Quite. You have the proof? Well... Of course you realize, my dear friend, I cannot be expected to carry out our little arrangement unless I have proof. Yes, I was reasonably sure of that. And so... There is a hat crumpled in the left hand pocket of my overcoat. A hat? His hat. I think you'll find that it has a bullet hole through the crown and there are several blood stains. Oh, fine. You don't mind if I look for myself? Of course not. That's why I brought it, you see. Yes, yes, yes. Yeah, apparently a very neat job. I specialize in neat jobs, Doctor. Do you mind telling me how it was done? Not at all. I waited for him in the driveway of his house. Cold true tonight. He left his car at the gate and walked up to the house. We had planned on that, do you remember? Yes, yes, yes, yes. Then when he came close enough, I shot him. Oh, so noisy. There was a silencer on the revolver. Ah, thoughtful of you. I'm always thoughtful, Doctor. Excellent. I even stepped close enough to in to ensure Potter burn. That's on, that's on. And the revolver is there without the silencer to make it look like suicide. So... I congratulate you, my dear friend. Thank you. I am conscientious. Are you conscientious enough to remember what I asked her to bring? Yes, quite. May I have it? I think not. What'd you say? I came here tonight, merely to thank you, Doctor, for your cooperation. I find myself a richer man. I hope you are joking, my friend. Not at all. You don't want to give up the packet of jewels? I couldn't have put it more neatly myself, Doctor. I see. You have not forgotten that I paid you some of money to perform this service for me? $500. That's correct. That is why I came here. I'm afraid I don't understand. To return the $500. You see, Doctor, I have decided to keep the jewels instead. I see. Would you care for a drink? Brande, perhaps. If you like. Water? No, thank you, no. Your health. If you don't mind, Doctor, let us exchange glasses. You are a remarkably suspicious man I have to be. If you please. Oh? Quite. I thought so, Doctor. Well, you're good, help. Wow. And now I'll be going, if you don't mind. Oh, must you go early? Yes. I hear you're $500. My offer is still good. Your offer? $500 for eliminating this man and bringing me the jewels from his pocket. I'm sorry not to be able to accept your offer, Doctor. I've made other arrangements, you see. May I point out that you're left to arrive over at our friend's site? May I point out that it is extremely possible that I have another. Possible? Probable. Shall we have another drink? May I pour if you like? Yes? No. Thank you. Now, shall we discuss this further? I'm afraid there is very little to discuss, Doctor. If you do not mind. No, there is nothing to discuss. I'm grateful to you, my dear Doctor, for putting me in the way of earning the very comfortable sum that these jewels will bring. I'm equally grateful to you for your hospitality, but I really must go. Well, I beg of you. Let me point out that a gentleman of your reputation might have some difficulty in disposing of the jewels. There are ways. Would it not be a great deal safer for you to take the $500 with no further risk than to keep the jewels along the risk of hanging? I'll take the risk. Besides, if anything unpleasant does happen to me in the course of disposing of the jewels, I can always remind my captors of the part that you played in this little affair. You see? I'm afraid you would have a very difficult time proving that. Perhaps. But I'll run the risk. Good night, Doctor. Don't I beg of you. I should dislike to have any unpleasant happening. You forget that I have a revolver, Doctor. That is a lie. I wouldn't take a chance if I were you, Doctor. I'm not taking a chance. I know you have no revolver. Really? Really? Interesting. How? A very simple process of deduction. There is none in your overcoat. I could tell by the way, Doctor. But there is. Ah, thank you. I was rather certain that it was there. You... And so I took the liberty of locking your overcoat in the closet when I got up to inspect our friend's hats. Checkmate, my dear friend. Still, mates, I think. I still have the jewels. And I warn you, for the last time, forgive them to me. I'm sorry. It would be a great deal better for you, if you would, you know? What will you do if I won't? Something very unpleasant, my dear friend. For example. It is quite possible I will kill you. You amaze me. I assure you, I am quite serious. It's impossible. It's nothing possible at all. May I ask just how you propose to Valve? In my life, shall I say? I shall cut your throats. Heaply, and does the books have it. With the spatch. You've been reading books, then. Tell me a wasting time. What's the answer? The answer is the same as it has always been. You refuse, then? I refuse, yes. Well, you've forced me to become a murderer. You know the penalty for murder in this country, Doctor? Put down that knife. You have had your last chance. No. No, don't kill me. I won't. I won't. No, no. You would not. No. Help me. Help me. Ed. Ed. You. You. You. You stabbed me, Fritz. Oh, my God. God. Boris. Boris. No, I slipped. I didn't mean to cut him. I didn't mean to cut him. I cut him. Look, a good blood. You've really killed him, Fritz. Oh, no. No, I... I just got you in time, didn't I? Yes, sir. Muddled 86782 with silver plate for Mr. Henderson. Mr. Henderson. No, I didn't mean to cut him. It's, sir. And just bring it right in, boys. Mr. Henderson is already for it. You've just heard the coffin in Studio B. The second in the summer revival series of Lights Out. In tonight's cast, you heard Bob Murphy as Ed. Sherman Marx as Fritz. Don Gallagher as George. Jack Bivens as Horace. And Charles Egleston as the coffin salesman. All right. You can turn them on now. This is NBC, the national broadcasting company.