Lights Out 38-04-06 085 Cat Wife

Summary

Podcast Summary: Lights Out – “Cat Wife”

Podcast: Harold's Old Time Radio
Episode Aired: October 24, 2025
Play Originally Aired: April 6, 1938
Host: Harold's Old Time Radio
Story Writer/Narrator: Arch Oboler
Episode: Lights Out 38-04-06 085 – Cat Wife

---

Episode Overview

This episode features the classic radio play "Cat Wife" from the Lights Out horror anthology, written by Arch Oboler. The story showcases the turn-of-the-century fascination with the supernatural, psychological horror, and unnerving transformations. “Cat Wife” explores a disintegrating marriage that culminates in a surreal metamorphosis, blurring lines between human and beast, sanity and madness.

Listeners are warned early that Lights Out stories are "definitely not for the timid soul," setting the tone for a dark, intense, and disturbing audio experience.

---

Key Discussion Points & Plot Breakdown

1. A Joyless Marriage (01:41–05:47)

• Characters: Linda (the wife, B), John (the husband, A), and Linda's rowdy friends.
• Linda is portrayed as a woman living for fun and carefree company, having no respect or affection for her hardworking husband.
• Their marital discord is explicit, filled with cutting insults and confessions. Linda reveals she married John for money:

  “I married you because I was sick of working in a two bit barbershop... I wanted dough, plenty of it. All I could get you was the best chance to get it that came my way.”
  (Linda, 04:44)

• After a heated argument, John accuses Linda of being a “cat”—mean, screeching, heartless.

2. The Metamorphosis (07:03–08:15)

• John’s cruel words become a curse. Linda starts feeling unwell, losing the ability to see clearly, and then begins morphing, physically resembling a cat.
• Panic and horror peak as John witnesses her transformation:

  “Her hands. Look at her hands. They're... they're claws. Her teeth... Her teeth—Linda!”
  (John, 09:15)

3. Supernatural Repercussions (08:15–12:41)

• A doctor is called; he attributes Linda’s state to neurosis brought on by hysteria and suggestion.
• The transformation, however, seems permanent and only gets worse. The doctor talks about contacting the authorities for scientific study. John reacts in desperation:

  “You’re not going to tell a living soul about it. No one, you hear me? No one. It's my duty, John. I must inform the authorities.”
  (John & Doctor, 12:19)

• John kills the doctor to protect Linda.

4. Descent Into Madness (12:44–18:30)

• John is now isolating himself with Linda, increasingly unhinged, attempting to feed her only milk and raw liver—things more suited to her now feline state.
• Neighbors and tradespeople become suspicious—his order for “six bottles of milk” and repeated requests for fresh liver seem odd.
• There are darkly comedic exchanges with the milkman and butcher:

  “By golly, it could be you was raising a cat or something!”
  (Butcher, 15:57)

• John is deeply paranoid, refuses to let Linda out of the house, and starts shutting out the world.

5. Neighborhood Suspicion & Tragic Conclusion (18:31–End)

• A neighbor, Sergeant Keligan, visits to complain about loud caterwauling.

• John’s denials grow frantic as the noises from Linda become impossible to hide.

• Keligan tries to intervene, leading to chaos. Linda—now entirely a beast—attacks Keligan:

  “If that ain’t a cat in that bedroom there, I ain’t never heard one.”
  (Keligan, 21:00)

• John loses his eyesight in the struggle, presumably mauled by Linda, and in a final, frantic act, fires blindly, crying out:

  “You've taken everything from me. My eyes, my life. Now I'll take Linda ... I’m coming with you. Wait for me. Linda. My beloved. Wait.”
  (John, final moments)

• The program closes with the infamous Lights Out sign-off:

  “It is later than you think.”

---

Notable Quotes & Memorable Moments

• Linda's Confession

  “I loved you about as much as that canary up there loves his cage.”
  (Linda, 05:01)

• John’s Outburst

  “That's what you are. A cat. A big, white, heartless cat. You think like one. You screech like one. You even look like one.”
  (John, 07:06)

• Doctor’s Diagnosis

  “The suggestion that she was a cat caught her in an unguarded moment and resulted in a temporary neurosis.”
  (Doctor, 08:45)

• Supernatural Realization

  “This horrible thing that’s happened to Linda, it goes beyond just you and me. Goes beyond the normal, into the supernatural.”
  (Doctor, 12:19)

• John’s Madness

  “Drink the milk, my beloved. Please. But you haven’t eaten anything ... Oh, my darling, what do you want? I’ll get you anything, anything...”
  (John, 14:45)

• Neighbor’s Suspicion

  “If that ain’t creating a public nuisance, I’d like to know what is. ... If that ain’t a cat in that bedroom there, I ain’t never heard one.”
  (Sergeant Keligan, 21:00)

---

Key Timestamps

• 01:41 – The party in full swing, marital troubles surface.
• 04:44 – Linda declares she married John for money.
• 07:03–08:15 – John calls Linda a cat; the transformation begins.
• 09:15 – John and doctor witness Linda’s claws and teeth.
• 12:19–12:41 – Doctor threatens to inform authorities; John kills him.
• 14:45 – John’s attempts to care for Linda as a cat.
• 15:57 – The butcher jokes about John raising a cat.
• 18:31 – Sergeant Keligan’s confrontation.
• 21:00 – Linda attacks Keligan; John is blinded.
• End – John, in total despair, calls out to Linda before the final, chilling sign-off.

---

Tone, Atmosphere & Style

The episode maintains a tense, claustrophobic tone of psychological horror typical of Lights Out. The dialogue is rapid-fire, sarcastic, and at times venomous between Linda and John, sliding into mania as John's reality unravels. Dark humor creeps in via bystanders oblivious to the tragedy unfolding within. The atmosphere is one of ever-increasing dread.

Arch Oboler’s Lights Out stories stand out for their suggestion of the supernatural intruding on everyday life, the blurring of guilt, sanity, and fate, and this episode is a chilling example.

---

For New Listeners

Even without prior experience of OTR (Old-Time Radio), this episode delivers a classic taste of radio horror—dependently chilling, with strong psychological themes, far ahead of its time.

If you’re interested in Golden Age radio drama, “Cat Wife” is an essential listen, encapsulating both the era's style and its capacity for visceral, unforgettable storytelling.

Transcript

[A]

Hey, this is Sarah. Look, I'm standing out front of a.m. p.m. Right now and, well, you're sweet and all, but I found something more fulfilling, even kind of cheesy. But I like it. Sure, you met some of my dietary needs, but they've just got it all. So farewell, Oatmeal. So long, you strange soggy. Break up with bland breakfast and taste AM PM's bacon, egg and cheese biscuit made with ktree eggs, smoked bacon and melty cheese on a buttery biscuit. AMPM Too much Good stuff. Arch Obilers. Lights out, everybody. It is later than you think. This is Arch Oblor bringing you another in our series of stories of the unusual. And once again, we caution you, these lights out stories are definitely not for the timid soul. So we tell you calmly and very sincerely, if you frighten easily. Turn off your radio now. Cat one.

[B]

Oh, I love that song. Queenie for Dilemma.

[A]

Cut it out, will ya? Your husband will be tearing down here in a minute. Come on, Queenie. We better blow out of here.

[B]

Yeah, I guess he better. No, I don't want to be alone.

[A]

What do you mean, alone? Your husband's in the next room, ain't he?

[B]

Oh, that guy. What does he know about having fun?

[A]

Work, work, work.

[B]

Makes me sick where I've never been sick before. Aw, come on, stick around. Let's have some more fun. You can't stop me. Oh, yeah. It's the most marvelous art ever.

[A]

Linda, for heaven's sake. Linda.

[B]

Well, speak of the devil. Hiya, Johnny boy. Come on in. The water's fine.

[A]

Fine.

[B]

Only it ain't water. It ain't water.

[A]

Linda, for heaven's sake, I'm trying to work.

[B]

Oh, go away. Go away. You're spoiling my party. Throw him out of here, Kenny. He's only my husband.

[A]

Get out of here, you. Take that other woman with you. Come on. Come on. Cler.

[B]

No, no, wait. Don't listen to him.

[A]

It's my house.

[B]

It's my house.

[A]

You.

[B]

You kick them out, my friends. You kick them out.

[A]

Linda, haven't you any consideration at all? I begged you, pleaded with you to try to keep these people out of the house while I'm getting some work done. And you persist in doing just the opposite.

[B]

You kick them out, my friends.

[A]

Yes, yes, I kicked them out. And I'll do it again every time I find them here. They're no good. You've given me your word time and time again to give them up.

[B]

I'll call them back. I'll call them all back. You can't tell me what to do. Not me. They're my friends. Mine. I'd give a dozen of you for one of them.

[A]

All right, Linda. If that's the way you feel, I guess you and I have finally come to the end of the road. You haven't got a grain of loyalty in you. All I ask is a little peace and quiet in my own home. And I can't even have that.

[B]

Ah, go away. Go away.

[A]

Night after night, you and those people yowling and screaming like a pack of alley cats. And you, the worst of all. I'm through, Linda. I'm through with you for good.

[B]

Oh, no, you're not. Oh, no, you're not.

[A]

Keep away from me. Keep away. Oh, Linda.

[B]

See, you're not through with me at all. You'll never be through with me.

[A]

Never. Oh, Linda. Linda. No. No. Let me go. Let me go.

[B]

I don't want you, you fool. You're not through with me. I'm through with you.

[A]

No. No, Linda.

[B]

I'm tired of you.

[A]

Do you hear me?

[B]

I'm tired of you. I'm gonna get so far away from that smug face of yours that I couldn't see it with a telescope.

[A]

Linda, my wife.

[B]

Your wife? Why do you think I married you?

[A]

I thought you loved me.

[B]

I married you because I was sick of working in a two bit barbershop. Because I was sick of living in a hall bedroom wearing bargain sale dresses. I wanted dough, plenty of it. All I could get you with the best chance to get it that came my way.

[A]

No, no, Linda, you did love me. You must have loved me.

[B]

I loved you about as much as anything. That canary up there loves his cage. I told myself I'd stay with you a year, divorce you, stick you for plenty of alimony and then get out.

[A]

But we've been married five years.

[B]

Yeah, five years. Because you fooled me, that's why.

[A]

I fooled you?

[B]

Yes, you started to make a lot of money. More money than I ever thought you could make. So you're giving me the air, huh?

[A]

No. No, Linda, I love you. I'll always love you. I didn't mean what I. Oh, Linda, don't leave me. You're no good. I know you're no good, but heaven help me, I love you. I'll never love anybody else.

[B]

Get out of my way.

[A]

No, no, I won't let you go. You've got to stay.

[B]

Take your hands off me.

[A]

You're no good. You've cost me my self respect. But you'll stay with me. You'll stay with me or I'll cut you off without a cent. You won't get a dime from me. Not a dime. Stop that. Stop darting.

[B]

Oh, you Sam. You fat headed Sam.

[A]

Stop that.

[B]

Say, you're gonna cut me off without a cent, are you?

[A]

Oh, you fool.

[B]

I've got everything that belongs here now. You hear me?

[A]

Everything. What are you talking about? What are you saying? This house.

[B]

It's in my name, isn't it?

[A]

The car.

[B]

It's in my name, isn't it?

[A]

I know, but. Oh, no, you. You wouldn't.

[B]

Oh, wouldn't I? Well, listen to this, my darling husband. I cleaned out the bank account yesterday. Every cent of it. I won't be in the street. You will now.

[A]

This is my house.

[B]

Get your things and get out of here.

[A]

I'll kill you. I'll kill you if you come near me.

[B]

Let me go.

[A]

Go.

[B]

Let me go. You touch me again, I'll tear your eyes out.

[A]

You. You cat.

[B]

Get out of my way.

[A]

That's what you are, a cat. A big, white, heartless cat. You think like one. You screech like one. You claw like one. You even look like one. A cat. That's what you are. A great white. I didn't marry a woman. I married a cat.

[B]

Keep it up. Keep it up. You're doing swell.

[A]

Laugh at me. Go on, laugh at me. But you're a cat. A sneaking, yowling cat.

[B]

Now, that's enough of that. You stop saying it.

[A]

A cat. A cat. You hear me? A cat.

[B]

Stop staring at me like that. Stop staring at me. John. What's happening to me? John, My head. I can hardly see.

[A]

John.

[B]

Help me. John.

[A]

Linda.

[B]

Why are you staring at money? Is staring at money.

[A]

I meow. Linda. Linda. Oh, now, John, you've got to control yourself. Everything will be all right. Oh, doctor, what have I done? What have I done? John, please pull yourself together. You're not entirely to blame for what happened. What do I do? I did it. I'm to blame. Stop talking like that. It's preposterous to say you're to blame. She was hysterical, John. And the suggestion that she was a cat caught her in an unguarded moment and resulted in a temporary neurosis. Oh, doctor, she's got to get well. She's got to. Of course she'll be all right. A little rest, quiet, and in a few days it'll all be forgotten. Is she. Is she sleeping? Yes. I gave her a sedative. She's resting very comfortably. Can I go in and see her? But I tell you, she's sleeping, John. I know, but. Oh, I've got to feel. I've got to look at her. I've got to make sure she's all right. Don't you see? I've got to make sure. John, please, You've had a hard time of it. You better get to bed and get some rest. Oh, no, Doctor. Listen to me. I. I've got to see her again. I've got to make sure that she's all right. I can't rest until I know, I tell you. Oh, very well. Just for a moment. Yes. Be very quiet. Yes. There, you see? She's resting very nicely. Doctor, look. What? Her hands. Look at her hands. They're. They're claws. Her teeth. Her teeth. Linda. No, no, no, no, John, you'll wake. Listen to her, Daddy. John, I can't stand it. I tell him. I can't stand it. She's Linda. She's my wife. My beautiful wife. Linda. Linda. Sorry, John. It. It's all right. I guess I'm going a little crazy myself. What's happening to her? What is it? I don't know, John. I don't know. Listen to her. You've got to do something, Doctor. You've got to. You're my friend. You've got to help me. What in the name of all that's rational, what I'll think. There must be something you could do. A drug, something, anything. John, I don't know what to say. I can't think. I'll call in someone else. That's it. I'll inform the authorities. They'll take care of everything. No, no, wait. What's the matter? What is it? You're going to inform the authorities. Yes. Yes, of course. John, don't you see? It's the simplest way out. Way out? Of course, of course. For you and for me. What do you mean? John, this horrible thing that's happened to Linda, it goes beyond just you and me. Goes beyond the normal, into the supernatural. Everyone should know about it. The world should know about it, sir. You mean you're going to let everybody know what's happened to Linda? Of course I am, but you can't do that. She's my wife. Do you hear me? My wife. No, no, no. Now, don't get excited again, John. Listen sensibly. We owe it to science. Science? Who cares about science?

[B]

She's Linda.

[A]

She's my wife. And I cursed her to God. That turns her into a yowling beast. It's my shame. Mine. And you're not going to tell a living soul about it. No one, you hear me? No one. It's my duty, John. I must inform the authorities. No. No. Keep away from that phone. Keep away, I say. I'm sorry, John.

[B]

Oh.

[A]

John, my friend. No. No. Try to sleep, darling. Try to sleep. Yes, yes, I. I know. I know, darling, but it's almost morning. You must rest. Sleep, Linda. Sleep. But Lovely. All right. All right, darling. I've got to be strong. I've got to help you. And I did help you. He was going to tell them about you. Everyone. They have taken you away from me. Locked you up, pointed at you, laughed at you. But I stopped him, Linda. I stopped him for you. He called me friend. But you're my wife, my beloved. And I love you. I've pleased you, haven't I, my darling? I never could please you before, could I? And now I've pleased you. I killed him, Linda. I killed my friend to save you. And if anybody comes, I'll say he never came here. And no one will know, darling. No one but you and I. What is it, darling? What's the matter? Why are you getting up? What is it? Why Go to the window? What do you want? Oh, if I could only understand you. If I could only know what you're trying to say to me. Oh. Oh, no. Oh, Linda. Linda, stop. I beg you to stop. Linda, beloved, stop. Stop. Stop. I'm here on the job site with Dale, who's a framing contractor. Hey, good morning. Dale traded up to Geico Commercial Auto Insurance for all his business vehicles. We're here where he needs us most. Yep, they sure are. We make it easy for him to save on all his insurance needs, all in one place with coverage that fits his business and bottom line. Oh, I shouldn't have looked down. It's all right. We're so far up here. Look at me. Take a deep breath. No, I'm good. So good. Get a commercial auto insurance quote [e-mail] and see how much you could save. Get more with Geico. Yes, I'm coming. I'm coming. Morning, Mr. Taylor. Oh, it's you. I found this note saying you wanted to talk to me. Gee, I hope you're not gonna quit taking milk from me, Mr. Taylor. I know I've been kind of late with deliveries the last couple of days, but you see, it's my. Oh, no, I'm not going to stop taking milk. That's what I want to see you about. I want milk, more milk, cream, everything. Oh, sure, sure. How much you want? Four bottles of milk? No, no, no. Six. Six? Yes. And cream. Six bottles of cream. Is something wrong, Mr. Taylor? Wrong? Why do you think something's wrong? Well, I only meant. You meant what? Speak up. You meant what? Oh, now, don't get sore, Mr. Taylor. I just meant. Well, you don't look so good and, well, you know how it is. Sometimes a fella has a couple too many and he starts ordering all the milk in the world. Fool, I'm not drunk. You want to sell me that milk or do I have to get another milkman? No, no, no. I'll get it for you. I'll get it for you. Hurry. Six quarts. Six cream. Only him and his old lady. The guy's nuts. Drink the milk, my beloved. Please. But you haven't eaten anything. You're hungry. You must be hungry. Oh, my darling. What do you want? I'll get you anything, anything. Just eat. No, no, I can't let you out of the room. I can't. Someone might come to the door. They'd see through the windows. Oh, be patient, Linda darling. I'll think of something. Drink the milk for your own good. Linda, please. No, no, no, dearest, don't do that. All right, all right, dear, all right. I'll let you into the dining room. But you've got to stay away from the windows. Someone should see you. Here, let me carry you. All right, darling, all right. I won't. I won't. Go yourself. Go yourself. You see, my darling, your pretty living room. Everything in it just the way you fixed it. Everything. Oh, Linda. Linda. This horrible thing that's happened to us. I tell myself it isn't real. I'll wake up soon and everything will be the way it used to be. You and I. Linda, where are you? Oh, Linda, don't, don't, don't, don't. No. Linda. Linda. Don't touch my phone. Linda. Linda. How could you do it? Could you do it? Oh, good morning, Mr. Taylor. Early again this morning, ain't you? Good morning. Ever since you sent your wife to the country, my first customer every morning for the last three days you've been like I was saying to my wife this morning I said, yes, yes, Mr. Heinrich. Some other time. I'm in a hurry. My order, please. Ja, ya, but you ain't give me no order yet. How about a nice steak? But you can broil. Oh, no, nothing like that. But to broil a steak. Ach, I tell you, that's nothing. When my wife, she goes to the country, that's what I always make for mine self. You lay the steak in the pan and then you light the candle. I'm in a hurry, I tell you. Sure, you're all right? All right. You don't have to get so high blood pressure. Mr. Taylor, if you will tell me what you want, by God. Here, I'll give it to you. Well, I. I don't know exactly. Oh, a couple of pounds of liver. Yes, that's it. Fresh liver. What, again? You hurt me. Sure, sure, I hurt you. But by golly, for three days, ever since your wife, she went away, you eat nothing but liver. Are you going to fill my order? Sure. Sure, I will fill your order. They are. Did you ever see such nice fresh liver? Oh, two pounds. There we are. By golly, it could be you was raising a catch or something. Why do you say that? Well, every day you buy liver. This morning I catch a couple of mouses in a trap. Maybe you like to take them along for the cat. Do her. Don't say that. Don't say that. At the tailor deliver. You forgot. By golly, that man is for it. Now, what did I say that was wrong? Cats like to eat mouses. Oh, my Linda. My dear, dearest Linda. Close to me. Close to me. Oh, my darling. My darling. It's better this way. You can't leave me now. I'll have you with me always. I'll keep you here, just you and I. I won't answer. They'll go away. All right, all right, I'll answer it. No, no, Stay here, my beloved. They mustn't see you. Be very quiet. Be very quiet. Yes, yes, I'm coming. I'm coming. Well, what is it? What is it? Are you the owner of this building? Yes. What do you want? Gigan is a name. I'm your neighbor. I've got that place across the alley from you. Neighbor? Yeah, Gigan is my name. I'm with the department. Department? Yes, I'm desk sergeant at the third District station. Policeman? Yes. I'm off duty today, so I thought I'd drop over and speak to you. Do you mind if I step in for a moment? Step in? Oh, no, no, not at all. Not at all. Thank you. Yes. You got a nice place here. Yes, yes, nice, very nice. You know, the same contractors made this place has made mine. You didn't know that, I'll bet. No, I. I didn't. Yes. Irishman by the name of Gilhooly. You put up all these bungalows along here. They're nothing but blarney. And the shoestrings jumped out and Said the story window. They're telling me the day after the stock market crash. Lucky for him. If he was alive now, some of the people around here at barred places only would murder him. What was the trouble they're having? Trouble? Say, now speak in. The trouble reminds me why I come over. If you don't mind, I'll tell you. Yes. No, no, it ain't me that's complaining, Mr. Taylor. I'm the kind of man that can sleep in a boiler factory. But it's me, Katie that is a light sleeper for you. I always say that if a star in heaven twinkles too much, the noise wakes up me. Katie, what? What is the trouble? Well, you know how the women are always finding something to make her fist about. Hey, I'm not disturbing her, am I? Her? Yeah, you know you're missy. She's not sleeping in the bedroom, ladies? No, no, of course not. There's no one in there. I thought maybe seeing the door is closed. Oh, no, I tell you, there's no one in there. My wife, she's out of town. Oh, well, that's fine. That's fine. I always like to talk things over, man to man, without the women around. The women are all right, I says, but they don't know how to straighten our little troubles with neighbors without calling names and pulling hair. What is it? What's wrong? What do you want to tell me? Well, to put it plain, it's the cat. Cat? Yeah, the cat. You just got it, didn't you? You. You heard a cat? Yeah, it started a few nights ago. Now, it ain't just her mean one, like I said, but Ms. Katie. Well, you see, our bedroom window faces right on the alley. And by golly, she hears every meal that animal makes you. You're wrong. Eh? I have no cat. But me Katie heard. I heard it, too. For that matter, I have no cat. But I'm telling you has come right from this house. I tell you I have no cat. Isn't that sufficient? Well, now, seeing as you put it so, I'll be speaking up, playing myself. I'm telling you, I heard a cat yelling last night and the night before and the night before that. And as soon as my name's Thomas Keligan, they come right through this house. Now, what do you say to that? Get out. Now, wait a second, Mabel. Wait a second. Don't get on your high horse. Get out. Well, now, see here, I'm not saying you're lying. I'm just thinking maybe the animals caught in the asilla without your Knowing it. Now, if you let me go down, I tell you there's no cat here. Get out. Get out of here. Oh, it's like that, is it? You heard me. Get out of my house. Well, you sure are making a lot of noise about nothing, young fella. But it's your house. And if that's the kind of neighbor you want to be, I guess. What? What are you standing there for? Get out. Get out. Now just a minute. Take it easy. No cat, eh? Well, what was that I just heard? Nothing at all. You've got no right, mister. You may not be a liar, but you sure are something close to it. If that ain't a cat in that bedroom there, I ain't never heard one. Get out. Get out of here. Oh, no, I won't listen to that cat. If that ain't creating a public nuisance, I'd like to know what it is. It's none of your business. This is my house. Get out of here. Now stop pulling at me. Me Buckle, I may be off duty, but I'm still an officer of the law. And I'm telling you that cat she got in there to violating the city ordinance. Now if you don't make it. Shut up. Disturbing me, Katie, I will. Stay away from that door. Stay away from that door. Listen to it. That ain't no cat you got in there. What? Oh, I'm sorry. Yes, yes, I lied. It is a cat. Just a cat. But I'll make it. Be quiet. But go away. Go away. Wait a minute. Take it easy. If it's just a cat, what are you getting? Zok s. Oh, no, I'm not. I'm not. Look at you. Your eyes are blazing. What's going on here? I think I'll have a look. No, no. Stay away. No. Get away. Take it away. I told you. I told you to go. Big one. If I only had the good. Never use it. Never. Keep away from it. Help. Help. Help. I asked you to go, didn't I? I asked you to, didn't I? Linda. You heard me. You heard me. Ask him. Linda. Linda, what's the matter? What are you going to do? Linda, Keep away from him. What are you going to do? No. No. Linda. Get away from him. Linda. Linda. Stop. Stop. Eyes. My eyes. My eyes. Oh, I can't see. God, if I could only find it. Blood blooded my eyes. I obliged. Oh God, have pity on me. Help me to find. Must be here. I dropped it somewhere. Ah, you're back now, pressing against me. Oh God, let me find that gun. I dropped it here. Somewh behind. Call it. Call it. Yes. Press close to me. I can't see you. Press close to me. I mustn't miss there. Press claw. What does it matter? You cursed animal. You've taken everything from me. My eyes, my life. Now I'll take Linda. I heard, my beloved. I heard you. I'm coming with you. Wait for me. Linda. My beloved. Wait. It is later than you, you think.