A (3:08)

That's right, Miss can't go no further down this road. Account of the drift.

B (3:13)

My goodness. The drifts are too deep for a horse. How can we walk through them? I second the motion.

A (3:18)

Well, you young ladies don't have to worry none so long as you keep going down the valley over there, snow ain't piled up that way all the way to Mar Jenkins.

B (3:26)

Well, that's marvelous. Come on, girls, let's get started.

A (3:29)

So long. Take care of yourselves, girls.

B (3:32)

Come on. Goodbye, mister. Listen to the snow talking at us. It's very dry snow. Our feet rub particles of it together and the friction makes a sound. It's kind of scary, isn't it? Why? Well, I don't know. It's just as if the snow was sort of trying to talk to us. I mean, as if it was angry at our trespassing. Hey, don't tell me we're trespassing. I don't want any country squire taking any potshots at my constitutional amendment with rock salt. No, thank you. Oh, don't talk nonsense, Kay. We're not trespassing. Why, this path through the valley here, over to Mrs. Jenkins house is the favorite hike of everyone who comes up this way during the winter. What's Mrs. Jenkins got anyway, that makes people walk their feet off? Wait till you taste her cooking. Eat. Oh, boy. Let's go. It's awfully quiet out here, isn't it? Oh, that's the glory of it. I've had the roar of the subway in my ears. So long. Okay, don't walk so fast. Come on. Look what I found. Oh, come on, Edna. Oh, please let me take your arm. I'm getting out of breath. Well, take it easy. There's no hurry. Well, what is it, Kay? Look through the circle of trees here. Look what I discovered. Well, isn't that interesting? It's a sort of a natural amphitheater. Sure. Say, who was this guy? Daniel Boone? What's an amphitheater? Well, that means an oval circling place with rising tiers of seats. It's, you know, like that place we went to for the horse show. Oh, back in the times of the Greeks, they had outdoor theaters. Listen to the program. They made use of places just like this where the ground sloped up and made a sort of a natural arena or stage below. Theater. That's an idea. Sit down, gals, and I'll give you a special performance of the Kay Follies. It's awful snowy here, isn't it? I'll trample her down with my spring dance. Well, come, sweet spring, isn't She a nut dancing in the snow. If I had that girl's energy. She's really graceful, isn't she? I'll bet if she went on the stage. Kay. She fell. Kay. Kay, did you. Did you hurt yourself? Oh, did I land on my dignity? Here, give me a hand. Here, I'll help you. There you are. Oh, did I take a flop? Did you hurt yourself badly? I'll live. What in the world did I trip over? Oh, no wonder. Look at that rock under the snow. No wonder. I did a nose dive. Oh, my goodness. There are rocks like that all over. A person could break their neck if they. Girls. What's the matter? What is it, Kay? The rock. You tripped over it. It's not a rock. What are you talking about? Of course it's a rock. Well, yes, but it's something. Something more than that. It's a tombstone. Tombstone? Oh, no. It can't be. It for yourself. It says. Here lies buried the remains of one who restless in life. Stop. Don't read anymore. Stop. And. And all these other stones laying flat on the ground. They're tombstones too. Yes. What a place to pick to dance. What's the matter, Edna? What did you scream for? Kay? You. You danced on the grave. What? You danced on the grave. I saw you. I saw you do it. You danced on the grave. Okay, Edna, stop it. Stop it. Oh, what's come into her? Edna, stop acting. Edna, stop. For heaven's sake, control yourself. Okay, Kay, I'm so sorry for you. You danced on a grave. For heaven's sake, stop talking like that. Sure, I danced on a grave. Well, yes, of course she did. It was perfectly accidental. And what if it wasn'? What of it? The polargeist. The what? Edna Hansen. What are you talking about? What's that word you just used? Polar geist. Okay. What have you done, you superstitious little fool? If you don't stop talking that way, I'm going to slap your face. What's the matter with you? I didn't do anything. You walked on the grave. You danced on the grave. Head. Be sensible. We all walked on graves, but it was purely accidental. We had no intention of desecrating them. If it doesn't matter, I tend to. It doesn't matter. The poltergeist will come. I know he will. Oh, what's the use? She's crazy. Edna, what are you talking about? What's a poltergeist? What are you so frightened about? My father. He told me if you walk on a grave. If you dance on a grave, the Poltergeist. Poltergeist. What? What is a poltergeist? An evil spirit. It comes out of the grave. It kills, it destroys. It'll kill us. It'll kill us all. Stop. It throws things out. Please, lay off that great Edna. But it won't get me. Edna, come back here. She's gone insane. I'll get her. Kay, catch her. Edna. Edna, don't run away. Nothing will hurt you. Nothing. Oh, Edna, look out. Kay. Kay, what happened? That stone, it hit Edna. Edna. Edna, open your eyes. Blood. Blood all over her face. Kay, who threw that stone? Who threw it? I don't know. It came from the graveyard.

A (8:29)

Ladies and gentlemen, a deep breath. We all need one before we go on with the story of Kay, Florence and Edna, the story of Poltergeist on tonight's Lights out. You and I are rational people. And yet so many strange things are happening today. Happening to people all around us. How about you? Are you worried about what's going on to your physical condition? Now, to return to Lights out, three girls had started on a happy holiday. Now, one of them has been gravely injured. Now, girls, take it easy. Take it easy.

B (9:24)

Oh, Doctor, she won't die. Tell me she won't die.

A (9:28)

No, no, of course not.

B (9:29)

And you're sure that her skull isn't fractured?

A (9:32)

Oh, absolutely not. Maybe a little concussion, that's all.

B (9:35)

Well, it's almost 5. Our train. Can we get someone to help us carry her down to the station so we can get her on board?

A (9:43)

Lord, I'm telling you, that little friend of yours shouldn't be moved out of bed for a week. If you do, well, it might be just too bad.

B (9:51)

Oh, Flo, what'll we do? You go home, Kay. I'll stay with her. Oh, no, you won't. I'm not leaving you here alone in this godforsaken place. If you stay, I stay, too. Kay, please be sensible. Why should we all lose our jobs when you.

A (10:05)

If you'll excuse me, you ladies, I got to be on my way.

B (10:08)

Oh, yes, of course, Doctor. Is there anything more you can do for Edna, Doctor? Any medicine or something?

A (10:13)

Nope. I've done all I can do. She's sleeping. Comfortable now, miss?

B (10:19)

Yes, Doctor.

A (10:20)

The constable sick, too, you know, and he's sort of dependent on me to keep things straight. Now, just how did you say that little friend of yours got hurt?

B (10:29)

Well, it was just the way we explained, Doctor. That rock came flying and.

A (10:33)

Yes, yes, I know, but who threw the rock?

B (10:36)

We. We don't know what. That's true, Doctor. We don't know.

A (10:42)

But somebody threw it. You can't change facts. Somebody threw the rock that cracked her head.

B (10:46)

For heaven's sakes, old man, you don't think we did it?

A (10:49)

No, miss, I did.

B (10:50)

Excited? Doctor, you've got to believe us. It happened just the way we said. All at once that rock came flying through the air from the direction of the graveyard. It struck Edna and. And we just didn't see who threw it.

A (11:02)

All right, if that's your story, you better stay in your rooms here. I mean you better not be leaving till the constable's on his feet and has a chance to talk with you. I'll be back in a few hours and see how the girl is.

B (11:18)

He doesn't believe us. What difference does it make? We know what we saw. But what did we see? She was running. She. She fell. Kay. Well, let's not fool ourselves. There was no one there to throw that rock. There must have been, but there wasn't. Stop saying that. Aren't you brave enough to face facts? There wasn't any place for anyone to hide. I saw that stone. It seemed to come down out of the air so slowly. Florence, if you don't stop talking like that. I remember What? But Edna said it throws things. Stop looking at me like that. You're giving me the jitters. She said the poltergeist throws things. Spirit of evil. Florence. Rob, have you gone crazy too? Why should we laugh at things like that? What right have we got to laugh? How do we know there aren't powers we can't see or understand? Powers of evil that revenge. An insult. Just like an evil man. Kay. How do we know? What are you talking like that for? What are you trying to scare me for? You. You're supposed to be the most intelligent one of us all. You with your college degrees. Sure, sure, I danced on the grave. But the dead are dead and they can't revenge a thing. I'm not afraid. I'm not afraid of anything. I tell you. It's not what. It's Edna. Come on, Edna. We're coming to you. Don't be afraid. We're coming. Open the door, Florence. It's not locked. Duck. It won't. Here, let me. Edna, what is it? What? Edna, what on your head?

A (13:10)

Hey, what's going on here? I run a decent place and I don't want you. Oh, the girl on the bed, her head.

B (13:28)

It's crushed flat in by a rock.

A (13:34)

God in heaven. It's not a rock, it's a tombstone.

B (13:41)

What do you think makes the perfect snack.

A (13:43)

Hmm.

B (13:44)

It's gotta be when I'm really craving it and it's convenient. Could you be more specific? When it's cray Venient. Okay. Like a freshly baked cookie made with real butter, available right down the street at a.m. p.m. Or a savory breakfast sandwich I can grab in just a second at a.m. p.m. I'm seeing a pattern here. Well, yeah, we're talking about what I crave, which is anything from am, pm what more could you want?

A (14:03)

Stop by AMPM where the snacks and drinks are perfectly craveable and convenient. That's cravenience. Am, PM Too much.

B (14:10)

Good stuff.

A (14:12)

What's that sound? That's the sound of Downy unstoppable scent beads going into your washing machine and giving your clothes freshness that lasts all day long. There it is again. It's like music to your ears. Or more like music to your nose. That freshness is irresistible. Let's get a Downy Unstoppables bottle shake. And now a sniff solo. Nice. With Downy Unstoppables, you just toss wash. Wow. For all day Fresh.

B (14:55)

I. I wish I could cry, but I haven't got any more tears. Oh, Edna. Edna. Florence, darling, please. You'll kill yourself if you keep on like that. Oh, this horrible night would only end. It was my fault. Mine. I was the one who got her out here. She didn't want to go. She hates the country. But I made her come. I made her. No, no, you're not the one to blame. I am. I danced on the grave. But it was so good, so sweet. Oh, why does it have to be Edna? Why? You're right. It wasn't right for it to be her, was it? I did it, not her. I did it. I danced on the grave. I danced on the grave.

A (16:03)

You can't deny what you see with your own eyes. But I tell you, Doc, nobody could have carried that tombstone up the steps without me seeing him, could they? But there it is, ain't it? Yeah, there it is. Either somebody's playing a terrible joke or. You don't have to say it, Doc. I know. It's just the trouble. You don't know and I don't know and nobody knows. Yeah. And that tombstone. Well, what about the tombstone? I. I ain't quite sure, but that's a tombstone out of the old burying grounds up at the bend. You're crazy. No, I ain't either. Well, that place is a good three miles from here. Yeah, I know. Who could have carted a heavy stone like that for three Miles. Yeah? Who? Stop looking like that, you flappy eared old fool. Human hands carried that stone in here and killed that girl. Sure the constable will find out who did it the minute he's on his feet again. You wait and see. No, he won't, Doc. You're smarter than me and all that, but this time you're wrong. There ain't nobody that takes in breath and leaves out breath like you and me. Or the constable's gonna find out who killed that girl. You know that, Doc. Oh, stop talking. I wish the constable was here and this night was over. It's been a terrible night. Terrible.

B (17:31)

Terrible. Clock. Ticking, ticking. Yeah, I know. I've been sitting here listening to it. I can't stand it anymore. I'll stuff it. My mother was it. Come on to bed, Kay, please. There's no use sitting there. It won't help her. Yeah, nothing can help her. But maybe I can help you. Me? It was my fault. Mine. I was the reason it happened. It killed her and it'll kill you and me too, unless I stop. No, don't say that. It's true. But why should you be hurt? I'm to blame, not you. Listen, Flo. I'll go out there. There? Out there to the graveyard. What? I'll talk to her. I'll tell it I didn't mean to do it, but I didn't know where I was dancing. Maybe somehow it'll hear. Listen to me. And then it won't hurt you. No. No. I won't let you go out there. It'll kill you. It'll kill you too, Flora. No. No. I'll hold you. You can't go. You can't. All right. Come on to bed, Kay, please. In the morning. In the morning, things will be different. But it won't. Nothing will hurt us. And then they're right outside the door. They won't let anything get at us. Oh, please, Kay. Please come to bed. Yeah. We'll pray. Pray? I. I don't exactly know how. Just say anything. Anything. Like this. Now I lay me down to sleep, I pray the Lord my soul to keep. If I should die before I wake, I pray the Lord my soul to take. Now you. If I should die before I wake, I pray the Lord my soul to take. K? K? Are you? Sleep. I can't sleep anymore, Kay. Tomorrow, I mean. When it gets light and everything. Do you think people will believe us? Do you think it's okay? I'm not quite sure what happened. I always used to be so sure about things. And now I. Kay. Kay, where are you, Kay? Where? The window. She went out the window. She's gone out there to the graveyard to talk to it. Okay. Why did you go? Why did you go? I'll go out there, too. Oh, she'll be so frightened out there alone. I'll go too. I'll go, too. Oh, so cold, my hands. Snow. So sharp, cutting my legs. Oh, why did you go out there, Kay? Why did you? I've got to find you. Wind. Oh, why doesn't the wind stop? Blow, blow, thou winter wind. Thou art not so unkind. Oh, I've got to find you, Kay. I've got to find you. It's snowing. I love snow. Edna didn't like snow. Where are you, Kay? Where are you? I've lost my way. I've lost the road. Where are you, Kay? Kay, where are. Here I am. Ok, I heard you, Kay. I heard you. I'm coming to you, Kay. We'll talk to it. We'll talk to it together. We'll tell her we didn't mean any harm. Won't we, Kay? Won't we? Poor Edna. We can't help her, Kay. We can't help Edna. But I'm coming to help you, Kay. I'm coming. I'm coming. Yes, I hear you. I hear you. I'm coming, darling. I'm coming to help. I'm coming to help you. I'm coming. I'm coming. I hear you. I hear you calling my name. I hear you. Yes. Yes, I hear you. I hear you. Where are you? Where are you? No, no.

A (22:50)

This way, Hooper. They must have come this way. Climbing out the window like that. And the middle of the night. They must have gone crazy, the both of them. Let's not worry about that now. We've got to find them. Here, give me that vantage. What is it, Doc? What have you found? A shoe. One of the girl's shoes. My gosh. Stuck in the snow. We're going the right way. Come on. Move fast. We've got to get to them. Doc, look at this. What is it? Over there. Ain't these footprints? Yes, yes, yes, that's right. Footprint. Hello. Up ahead. Hello, Doc. We're. We're getting pretty close to the old burying grounds. Well, maybe. Oh, look here, Doc. Let's not be fools. Let's wait till morning. What? Let those frightened girls freeze to death? Get along. But, Doc, I. You come with me or the whole town will know what a yellow livered, no good you are. All right, all right. You don't have to get so Sore. Doc. Hello?

B (24:02)

Hello.

A (24:05)

Anybody up there?

B (24:08)

Hello.

A (24:10)

Doc. Doc, look. What? There they are up ahead. Glory be. They're alive. The both of them. Come on, duck. Doc, look at them. That's the burying ground up there. And they're dancing. Dancing on the graves. But they must be out of their heads. Come on. We've got to stop. Doc. Doc, wait for me. Oh, Doc. It's Doc again. Where are they, Doc? Where are the girls? Have they. Have they stopped dancing? Yes, they've stopped dancing. Did. Did they ever dance? What are you talking about? Doc, we saw him. We saw him dancing in this place with our own eyes. Did we? The moonlight. Here it comes again. See with your eyes again. Oh, no. Both of the girls froze stiff to the ground. Each with her head crushed by a tombstone. Mr. Oberp, would you mind telling us me whether there actually are such things as poltergeists? All I can tell you is this. There are authenticated records in existence that in the city of London on the 27th day of April, 1872, from four in the afternoon on a Thursday until half past eleven at night, a certain room and a certain house was deluged by stones thrown from no apparent source. The London police surrounded the house, but they found no trace of whoever or whatever was throwing those stones with a murderous violence. I. I see. So much for poltergeist. But what about next week? That's something I'll tell you about in a moment. Good. Fair enough. Then if you need more vitamin B and iron, ask your druggist for the genuine, the one and only ironized yeast tablets. And now, Mr. Ober, what happens next week? Well, anything can happen. But specifically next week. Mongara. A strange title and a strange story. The power of suggestion. The dictators have shown us to what evil purposes that power can be used. Well, next week, a man who. But that, as usual, is next week. Yes. Lights out. Written and directed by Arch Ober will come to you again next Tuesday at the same time. Be sure to listen for the amazing story of Mungara. And if you need more vitamin B and iron, be sure to try ironized yeast. The one and only ironized yeast with the big letters IY on the package and on each tablet. It is later than your think.