Lights Out - Organ

Summary

Episode Overview

Podcast: Harold's Old Time Radio
Episode: Lights Out - Organ
Date: June 15, 2026

This episode features the classic radio drama “Lights Out – Organ,” an eerie tale from the golden age of radio. The episode immerses listeners in a chilling and supernatural story involving an unsuspecting family renting an old mansion with a dark past. At the heart of the narrative are mysterious organ music, ghostly apparitions, and the unraveling of a gruesome crime from decades ago.

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Key Discussion Points and Story Breakdown

Scene Setting & Characters Introduced (01:24 – 04:38)

• Chuck and Ann, along with their son Billy, arrive at a large, shadowy Victorian mansion they've just rented.
• The real estate agent hands over the keys, but his nervousness hints that something is amiss.
• Notable mood: Unease and suspicion as Chuck jokes about the house being too good to be true.

First Hints of Trouble (04:38 – 08:55)

• The caretaker abruptly appears, aggressively insisting the family does not belong in the house:

  “No one belongs here. No one. And then that’s mine... Get out, you all. Get out, all of you. This place is mine.” (Chuck/Caretaker, 07:07 – 07:47)

• The caretaker faints from the confrontation. Upon reviving, he grows even more disturbed and again urges them to leave.
• Chuck tries to downplay the incident, dismissing the caretaker as eccentric.

Growing Dread and Supernatural Overtones (10:02 – 15:25)

• Ann and Chuck discuss the mansion's history; Ann is increasingly uneasy, referencing how the home hasn’t been lived in for 20 years.
• Chuck scoffs at the idea of ghosts, but Ann presses:

  “Isn’t it possible that young children are ... to things that aren't of this world?" (Ann, 14:24 – 14:42)

• Strange, unexplainable music begins:

  “Chuck, listen... But it can’t be. It’s not a radio.” (Ann, 15:25 – 15:41)

Billy’s Encounter: The Ghostly "Old Lady" (16:30 – 18:12)

• Billy claims to see and converse with an “old lady” who wants him to come downstairs and listen to the music:

  “She wants me to go downstairs with her to listen to the music." (Billy, 16:59) "The old lady, dad. Don’t you see her sitting there?... You can kind of see right through her.” (Billy, 17:30)

Spectral Visions and Shocking Revelations (20:28 – 26:02)

• A supernatural green light appears, revealing a hidden room. The family witnesses a spectral reenactment of the house’s grim past:

  “There’s someone sitting in that room. In the green light." (Chuck, 21:30)

• The caretaker, now youthful, is seen in a ghostly tableau with the previous owners (the Reynolds family):

  “Paula, I wanted to talk to you..." (Caretaker, 23:06)

• The vision escalates into a disturbing double murder, as the caretaker (Mr. Elverson) kills Paula and her mother:

  “He’s killing the mother. Killing her.” (Ann, 25:42)

Confrontation with the True Villain (27:07 – 28:43)

• The caretaker, now revealed as the murderer, admits his crime to Chuck and Ann:

  “Yes, I killed them both. Yes, I killed them. And why not? The one gave me no love. The old one, no money. He promised me. He promised me." (Caretaker, 27:23)

• The caretaker attempts to kill Chuck and Ann, but is stopped in a supernatural twist:

  “I had my hand on the gun. And then it seemed to turn in my hand toward him ... as if someone…” (Chuck, 29:08)

Grisly Discovery & Resolution (29:37 – 30:35)

• The hidden wall collapses, exposing the organ and two skeletons—remnants of the murdered women:

  “Not women. Not anymore. Two skeletons in dresses." (Chuck, 29:59)

• Chuck understands everything: the organ music, the haunting, and the house’s evil secret.
• As dawn arrives, the spirits dissipate and the family is finally released from the nightmare.

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Notable Quotes & Memorable Moments

• “This old house seems to chill me somehow. It’s so full of shadows.”
  — Ann (03:17)

• “No one belongs here. No one. And then that's mine... Get out, you all. Get out, all of you. This place is mine."
  — Caretaker (07:07 – 07:47)

• “She wants me to go downstairs with her to listen to the music.”
  — Billy (16:59)

• “The old lady, dad. Don’t you see her sitting there? ... You can kind of see right through her.”
  — Billy (17:30)

• “The green light’s gone through it. Beyond it, there’s a room... A room.”
  — Chuck (21:08)

• “Yes, I killed them both. Yes, I killed them. And why not? The one gave me no love. The old one, no money. He promised me... But when he died, they gave me nothing.”
  — Caretaker/Murderer (27:23)

• “Two skeletons in dresses... I understand everything now. He killed them 20 years ago. And then walled up their bodies in there with the organ.”
  — Chuck (29:59 – 30:16)

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Timestamps for Key Segments

• Rental transaction and introduction to the house: 02:14 – 04:38
• Caretaker confrontation & warning: 06:01 – 08:55
• Strange events and first ghostly occurrence: 15:25 – 18:12
• Spectral reenactment of the murders: 21:30 – 26:02
• Caretaker’s confession & attempted modern murder: 27:07 – 28:43
• Discovery of the hidden organ and skeletons: 29:37 – 30:35

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Conclusion & Tone

“Lights Out – Organ” is a quintessential old-time radio ghost story, brimming with atmospheric dread, eerie sound design, and classic supernatural twists. With a blend of dry humor from Chuck, anxious insight from Ann, and the unsettling innocence of Billy, the drama builds in intensity until its grisly climax. The story resolves with the exposure of long-buried secrets and the release of restless spirits, restoring peace (and daylight) to the haunted house.

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Listeners seeking a chilling, vintage audio experience—full of shadowy mysteries and spectral justice—will find this episode a standout example of golden age radio horror.

Transcript

[Narrator/Announcer]

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[Chuck]

Lights out, everybody.

[Ann]

Sa.

[Chuck]

20 is 80 and 20 is 100. Perfectly correct. $100 rental for two months. And now for the matter of a receipt. Of course, if you don't mind. Not at all, not at all, Mr. Cook. Do business in a businesslike way is my motto. We aren't a very large firm, but service supreme is our motto. Now, what did I do with my receipt book? So careless of me. In this pocket. Oh, any old piece of paper will do. No, no, no, no. Here we are. I had it in this pocket all the time. I'll just sit down over there and write it out for you. Well, darling.

[Ann]

Well, Chuck is simply unbelievable.

[Chuck]

50 bucks a month for a furnished grand central palace like this one. Beautiful. There's something wrong in a wood pile someplace.

[Ann]

Would you really think so?

[Chuck]

Of course not. Not. I'm only kidding.

[Ann]

This old house seems to chill me somehow. It's so full of shadows.

[Chuck]

Oh, nonsense. You're letting the storm outside affect you. You're always afraid of lightning, you know.

[Ann]

There was a blinding flash just as we came in the drive. It illuminated the whole house. It seemed to glower at us.

[Chuck]

Yes, he made himself right at home pretty quick, didn't he?

[Ann]

Takes after his papa. What?

[Chuck]

Now, that's libel. I never curled up on a strange sofa.

[Ann]

What?

[Chuck]

Without at least three drinks and a proper introduction. Anyway, be quiet.

[Ann]

Here comes service. The prince. Yeah.

[Chuck]

Here we are, folks. Money receipted, right and proper. I hope you'll be quite satisfied here. Quite.

[Ann]

Oh, I'm sure we will be. As you can see, our little boy has Made himself at home already.

[Chuck]

Cute little fellow. I do hope he'll be quite all right. Well, I. I must be getting along business, you know. Moving in at once, aren't you? Well, we planned to. Yes, yes, yes, yes, you told me you were. Well, good luck and goodbye, Mrs. Crook. Mr. Crook. Goodbye. Goodbye.

[Ann]

Well, wasn't he in a hurry to get out?

[Chuck]

Service supreme till the minute the rent's paid and then it's exit. Extraordinary. Well, I better go get the things in out of the car. Gosh, dear, I never thought we'd spend a summer in a mid Victorian mansion. Did you?

[Ann]

Huh?

[Chuck]

Dear, I'm talking to you.

[Ann]

Hmm? Oh. Oh, I'm sorry.

[Chuck]

Why the pensive look? What are you thinking about?

[Ann]

Of what that man said.

[Chuck]

What man? Oh, you mean Server supreme, huh?

[Ann]

Yes.

[Chuck]

Well, what pearl of wisdom did he spout?

[Ann]

Well, remember when he looked at Billy sleeping there?

[Chuck]

Yeah.

[Ann]

He said, I do hope he'll be all right.

[Chuck]

Yeah, so he did. So what?

[Ann]

No way he said it.

[Chuck]

Go on. Say, you'll have to get some help in to clean up this place. Looks like my fraternity house used after we threw a dance.

[Ann]

Jack.

[Chuck]

What are you staring at?

[Ann]

Huh?

[Chuck]

What are you doing in here? Oh, boy, Billy, you started it. What are you doing in here, Chuck?

[Ann]

He must be the caretaker the real estate man told us about.

[Chuck]

Oh, yes, sure. You answer me. What are you doing here? Answer me, Chuck.

[Ann]

What's the matter with that man?

[Chuck]

Look here, old boy, you don't have to throw any catfits. We rented this place from Service Supreme. I mean, what's his name? Mr. Hawkins? That real estate man up in town. Rented?

[Ann]

Sure.

[Chuck]

Here's a receipt. A hundred bucks for the next two months. Two months? Yeah, yeah, I know it isn't much, but it's all the fellow wanted and so that's all he got. Of course, with all due respect to you, caretaker. You are the caretaker, aren't you? Yes. Aye. Oh, good, Then I can speak freely. As I was saying, the rental doesn't seem like much, but after all, big as it is, it's a pretty crummy old place, Chuck. Well, it is. That real estate fellow said there hadn't been anyone living here regularly for 20 years since these people. What's the name all died. Reynolds. Huh? What'd you say? What did he say, Anne?

[Ann]

I don't know, but he frightens me.

[Chuck]

Reynolds. Mr. And Mrs. And Paula. Oh, Reynolds. Yeah. They're the people that lived here, aren't they? Mr. Hoosier's real estate said something about. Here. Get out to her. You hear me? Now, wait a minute. Wait a minute. We rented this place. No one belongs here. No one. And then that's mine. Stop waving your hand around 20 years. Get out. Get out, you all. Get out, all of you. This place is mine. My heart forgets mine. Nobody can come in here.

[Ann]

Chucky can touch him.

[Chuck]

Holy. Say. Well, but brace up. Oh, boy.

[Ann]

Oh, Chucky. He's not.

[Chuck]

No, he just passed out, I guess. Wonder where some water is. We gotta.

[Ann]

Oh, he's coming, too.

[Chuck]

Holy smoke. I thought he popped a valve or something, the way he was blowing off. Here, give me a hand. We'll put him up in the other sofa there. Where? Here, you. Come on. Take your hands off me. What? Take your hands off me. Oh, now, look here. We just want to help you. Your hands. Your hands off me.

[Ann]

Chuck, help him. Get out. No.

[Chuck]

Here, let me get you to a chair. You. No. No. I am all right. I. I will live longer than anybody. You. You will have to get out. You. You will have to get out. No one must stay here.

[Ann]

No one. Get out. Get out.

[Chuck]

Now, wait.

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[Chuck]

Wow. Can you imagine that old duck running off like that? Boy, oh, boy, did we get a bargain. A house and entertainment by a cracked nut. Offer 50amonth.

[Ann]

Why was he so furious?

[Chuck]

Don't ask me. I'm no psychiatrist. Oh, well, let's not let old crackpot spoil things. I'll slip him a few bucks in the morning and he'll be all right. Now, let's wake that snoozing son of ours.

[Ann]

He is awake.

[Chuck]

Why, you little rascal, you. How long have you been sitting there watching, young man? Eh?

[Ann]

A long time. Where are we, dad? I'll tell you, Billy boy. We're in a great big, beautiful house where you and I and Father are gonna have a good time for the next day. Two months. Isn't that good news?

[Chuck]

Well, why don't you answer your mother, Billy? Aren't you glad we're going to be staying here in the country, dad? Yes. Huh?

[Ann]

Please, let's get out of here. I'm awful scared. I wonder if you're sleeping.

[Chuck]

I'll go see.

[Ann]

Be very quiet.

[Chuck]

Yeah, yeah, I will. Well, like a regular chair.

[Ann]

But you keep your voice down.

[Chuck]

Oh, that air of ours is sleeping so sound it takes Susan's band to wake him up.

[Ann]

Maybe we should have let him sleep with us this one night.

[Chuck]

And have him grow up into a lily that falls over at the sight of his own shadow? I know Mrs. Cookie sleeps in that room and likes it. Anyway, he's deep in sleep, so that's that. Oh, boy, oh, boy, oh, boy. Sketching out feels good. It's gonna take at least two bands to wake me up tonight.

[Ann]

Lock all the doors in the window.

[Chuck]

Yeah.

[Ann]

Are you sure?

[Chuck]

Oh, now, listen, honey, please tell me. I am telling you. This house is locked up tighter than a hooscough. Shutters, doors, everything. I tell you, if that crazy old coot decides to come back to continue his oration, you know, have to use a hacksaw to get in.

[Ann]

I wish it was morning. You could sort of straighten things out with him. After all, he is the caretaker.

[Chuck]

Oh, forget it. We rented the place from the regular agents. And if the old boy doesn't like it. Really? Now what? Let's go to sleep, huh?

[Ann]

But, Chad.

[Chuck]

Oh, Ann.

[Ann]

But I want to know.

[Chuck]

What?

[Ann]

Well, why should he have gotten so excited? It's been worthy of me.

[Chuck]

I don't know. Maybe because he thinks we'll mean more work.

[Ann]

20 years alone. Huh?

[Chuck]

What'd you say?

[Ann]

Oh, I was just wondering why this place hasn't been rented or sold all these years.

[Chuck]

I don't know.

[Ann]

So could it be?

[Chuck]

What. Say are you thinking of? Oh, that's nonsense.

[Ann]

Is it? Why, sure.

[Chuck]

Just because a house is big and old and hasn't been lived in for a long time doesn't mean that I tell you that storybook stuff.

[Ann]

Chuck.

[Chuck]

Huh?

[Ann]

Why? Did Billy say that he was frightened?

[Chuck]

Oh, he's just a little kid.

[Ann]

Well, isn't it possible that young children are quoting?

[Chuck]

To what?

[Ann]

To things that aren't of this world? Huh? Ann?

[Chuck]

Coke.

[Ann]

I was just thinking.

[Chuck]

Well, stop thinking things like that. Of all the screwy ideas to get in the middle of the night in the middle of nowhere. Now, come on, go to sleep before you give me the jitters too. Save the ghost dog for tomorrow morning when the sun's shining. It's a little dark and dismal. Weird right now to be talking about.

[Ann]

Chuck, listen. Oh, Chuck.

[Chuck]

But it can't be. It's not a radio.

[Ann]

Chuck. I'm frightened. I knew something was wrong. I knew it. That old man was right. We shouldn't have come here. We should have. I know.

[Chuck]

The music.

[Ann]

In the middle of the night. Don't let go like that. Wait.

[Chuck]

Stopped. So quiet now.

[Ann]

Yes, Chuck. Did we really hear it?

[Chuck]

I felt the floor vibrating like it does when the organ plays in church. Yeah.

[Ann]

Billy.

[Chuck]

He's all right.

[Ann]

Billy. Oh, Mom. Daddy. Darling. Why were you laughing like that? Why, Billy? Oh. Cause I've been having fun. Gosh, lots of fun.

[Chuck]

Oh, dream Santa. You mean you've been having a funny dream?

[Ann]

Gosh, no. Not a dream. Isn't my dad funny, Old lady For Liggy. Who? Who did you say that to, Billy? She wants me to go downstairs with her to listen to the music.

[Chuck]

Music?

[Ann]

But I told her I couldn't go. Not like you said I could go. Can I, Mom? Can I go? Go? Go where, Billy? Where? Downstairs, like I told you. With her. Billy, listen to me. Who are you talking about?

[Chuck]

John? And she her mother. Who are you talking about? Yes. And why are you staring at the foot of the bed? What are you looking at?

[Ann]

The old lady, dad. Don't you see her sitting there? Where's Sadie, John? John, can't you see her? Funny old lady. You can kind of see right through her.

[Chuck]

Cold, dear little. I hear. Let me get this around you, huh? Kind of a wind blowing in from someplace. You should have stayed upstairs.

[Ann]

I couldn't stay upstairs in this horrible.

[Chuck]

All right, don't get upset again. Here we three are, and here we stay until daylight.

[Ann]

Won't it ever get light again?

[Chuck]

Oh, no, honey. Just a few more hours. Gosh, kids are wonderful. What, Billy. Look at him. There. Asleep, as if nothing had happened.

[Ann]

He doesn't know anything. Dead?

[Chuck]

No. Lucky kid. Ah, you just wait until that old son starts dying doing his stuff. And I'm going to turn this house upside down until I find out what's been bothering. Huh? Did you hear something?

[Ann]

I don't know. I. I thought I heard something sighing as it. That horrible music. Your chimp.

[Chuck]

It's here. An organ. Right in this room.

[Ann]

Mother in heaven. Where's it coming from? Where? Oh, I don't know. Oh, I can't stand it, Chuck. I can make them stop it.

[Chuck]

Please.

[Ann]

Hear Organs playing music. There's no one here. It can't be playing. Stop it. Stop playing that. Stop playing that.

[Chuck]

Sit there. It's up.

[Ann]

Come to me. Mama. Yes, silly boy. Yes. What is it? That funny music. Where's it coming from? Mama, I don't know. But Mama.

[Chuck]

It's all right. Nothing's going to harm us. Here. Come here now. It's the boy. Your arms close around me.

[Ann]

Won't it ever stop?

[Chuck]

Won't daylight ever come?

[Ann]

I wish we wasn't here, Chuck. It's getting darker,

[Chuck]

all right. Just the dark before the dawn, you know, dad.

[Ann]

It seems to be getting lighter. And the music's dying away.

[Chuck]

Yeah. Light. What a fine light. Anne. Is there something wrong with my eyes?

[Ann]

No. I see it too.

[Chuck]

Do you? The wall over there. A light. It's green, isn't it? Growing on it.

[Ann]

Oh, Chuck, I'm afraid.

[Chuck]

We gotta get out of here quick.

[Ann]

Yes.

[Chuck]

No, wait. That wall. The green light's gone through it. Beyond it, there's a room, Hanna. A room.

[Ann]

Yes, Yes, I see it too. Oh, joke with madness is this, Mommy? What are you afraid of, Anne?

[Chuck]

There's someone sitting in that room. In the green light.

[Ann]

Yes.

[Chuck]

It's a. It's a girl. I see her so clearly. And yet somehow. It isn't real, is it?

[Ann]

Look at the way she's dressed. So strangely,

[Chuck]

so clear. And yet. It's more like a picture on the wall. Not deep. The flatness of the picture.

[Ann]

Chuck, look. There's a man coming into that horrible light.

[Chuck]

By George, it's him.

[Ann]

What?

[Chuck]

Don't you recognize him? The old caretaker.

[Ann]

Yes.

[Chuck]

See him? But now he isn't so old.

[Ann]

Get me out of here.

[Chuck]

No, no, no, no. Wait. We don't dare go. Not yet. Pictures on the wall, and yet not pictures.

[Ann]

He's going closer to her.

[Chuck]

Yeah, I see it. Hello, Paula. God in heaven. He's talking. And yet he hasn't flesh. I know he hasn't.

[Ann]

Oh, it's you, Mr. Elvison.

[Chuck]

She speaks too. Pictures talking, is it? Am I nuts?

[Ann]

Yeah.

[Chuck]

Paula, I wanted to talk to you.

[Ann]

But you know, Mr. Elvison, mother doesn't like to have me talk with you.

[Chuck]

Because I'm a simple man, eh? A gardener, A servant.

[Ann]

Oh, Chuck.

[Chuck]

Don't knock.

[Ann]

Whatever the reason, Mr. Elverson, you shouldn't come here when mother's away. It isn't right. Your mother, Mr. Elverson. Yes, your mother.

[Chuck]

I've got nothing.

[Ann]

So I'm not good enough, eh? Please go. Your father, he promised me. Before he died. He promised me. In his will. He give me money, plenty money for all I did for him. Well, I'm sorry he didn't leave it to you. Ah, ye Madadore. You don't blame her. It wasn't her fault. It wasn't in the will. How could she give it to you? Your father, he promised me, Mr. Reynolds. He promised me.

[Chuck]

They're the people that own this house.

[Ann]

But Mr. Hawkins said they've all been in dead for 20 years. It's no use, Mr. Alison talking about that again and again. Please go. Ah, you drive me out, too, eh? Please don't talk like that. If I had money, the money your father promised me, you wouldn't tell me

[Chuck]

to go, would you?

[Ann]

Maybe you would love me, huh? Marry me, eh? Don't look at me like that. You frighten me. But you could love me anyway, Father. Animals. I make you love me. Make you love me. Leave me alone. Leave me alone. Leave me alone. You love me. I make you love me. Yes. I make you love me. You are in love with me now. I love you.

[Chuck]

The light's fading out and they're going with it.

[Ann]

What have we seen, Chuck? What? Wait.

[Chuck]

The light coming back.

[Ann]

Don't look, Billy boy. Here, darling. Put your head against mother.

[Chuck]

Ann, look. He's killed her.

[Ann]

Oh, Chuck.

[Chuck]

Standing over her. That horrible look on his face.

[Ann]

Chuck, another woman's coming in.

[Chuck]

The mother.

[Ann]

He's turning toward her. Chuck, he's going to kill her.

[Chuck]

I can't move.

[Ann]

I want to scream. I can't. Do something, Chuck. He's killing the mother. Killing her.

[Chuck]

What can I do? I'm rooted here.

[Ann]

I can't move.

[Chuck]

Gone. The light goes and they go with it.

[Ann]

But we saw him kill him. Both mother and daughter.

[Chuck]

Billy. Billy didn't see it.

[Ann]

No. No. He buried his head against me so tightly. What? Chuck, what's the matter? Billy's asleep.

[Chuck]

Asleep?

[Ann]

Yes. So quietly against me. Well, it's as if someone up there didn't want him to see that horror. Only you and I. Well, it's as if someone up there didn't want him to see this horror. Only you and her. Look. What was it that we saw? What?

[Chuck]

Whatever it was, I'm getting out of here. Quick. Give me the boy. Wait. What?

[Ann]

The old man. The one we just saw.

[Chuck]

The one you just saw. What? You. You killed them? How and why, I don't quite understand. But we saw you kill the mother and daughter. Oh, you know.

[Ann]

Was it real? What did we see?

[Chuck]

Yes, I killed them both. Yes, I killed them. And why not? The one gave me no love. The old one, no money. He promised me. He promised me. But when he died, they gave me nothing.

[Ann]

Yeah.

[Chuck]

Killed him?

[Ann]

Yes.

[Chuck]

Yes, Kill them.

[Ann]

With my own hands. I killed him. Keep the police.

[Chuck]

Yes. No. No police. There were no police. Then there will be no police now. But murder.

[Ann]

Two women.

[Chuck]

They know. I know. And now you know. No one else will ever. What? What do you mean?

[Ann]

You.

[Chuck]

You here. They understand. There. Night after night. Now you know why I didn't want you here. Now you know why I must kill you.

[Ann]

That gun. Yes.

[Chuck]

With the gun.

[Ann]

Him.

[Chuck]

20 years ago.

[Ann]

With my hand. Oh, Chuck.

[Chuck]

I won't.

[Ann]

Chuck. He's dead.

[Chuck]

I had my hand on the gun. And then it seemed to turn in my hand toward him. As if. As if someone.

[Ann]

I saw.

[Chuck]

Billy. Is he.

[Ann]

Oh. Still sleeping.

[Chuck]

Sleeping. She all left.

[Ann]

Blessed. Sleep. Good.

[Chuck]

What?

[Ann]

The wall. It's falling off. Chuck. Hook. Look. That's the ark.

[Chuck]

The organ that was playing. And women.

[Ann]

Two women sitting at the keyboard. No. No. Chuck. Don't go any closer.

[Chuck]

Oh, no.

[Ann]

Chuck, what is it?

[Chuck]

No. No. I was wrong, Ann. Well, not women. Not anymore. Two skeletons in dresses.

[Ann]

No.

[Chuck]

I understand everything now. He killed them 20 years ago. And then walled up their bodies in there with the organ.

[Ann]

But what we saw. The music. How could it.

[Chuck]

And look. They're crumbling bones into dust. He's dead. Now they can have peace. Lights out. Written especially for radio by Arch Oberlor. Comes to you each Wednesday from our Chicago studios. This is the National Broadcasting Company. Listening to wmaq, the Chicago daily news station.