Poltergeist by Lights Out

Summary

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The Horror! (Old Time Radio)

Episode: Poltergeist by Lights Out
Aired: October 18, 2025
Original broadcast: December 16, 1936 (rebroadcast October 20, 1942)
Host: RelicRadio.com

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Episode Overview

This episode features a rebroadcast of the chilling Lights Out radio play, “Poltergeist.” The host introduces the show as a piece meant to induce fear and suspense, cautioning that those easily frightened should turn away. The story, penned by Arch Oboler, revolves around three young women whose winter outing turns terrifying after an accidental desecration in a snowy graveyard unleashes supernatural violence. The tale explores themes of superstition, guilt, and the inexplicable power of evil forces.

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Key Discussion Points & Narrative Breakdown

1. Episode Introduction and Warnings (00:02 – 01:41)

• The host welcomes listeners and gives background on Lights Out, emphasizing its history and reputation for fear-inducing stories.
• Arch Oboler’s signature warning urges those of “timid soul” to refrain from listening.

  “These Lights out stories are definitely not for the timid soul...if you fright easily, turn off your radio now.” — Arch Oboler (00:45)

2. The Snowy Outing and Dynamic Among Friends (01:42 – 06:47)

• Three friends—Kay, Florence (Flo), and Edna—enjoy a wintry day, singing and joking, revealing lively and distinct personalities.
• The mood shifts abruptly when Kay, dancing in a grove, trips over what initially seems to be a rock—soon discovered to be a tombstone.
• Unease sets in as they realize they’re walking over a forgotten graveyard cloaked in snow.

  “What is it, Kay?...It’s a tombstone.” — Edna (06:13)
  “What a place to fix a dance.” — Kay (06:42)

3. Superstition and the Poltergeist Legend (06:47 – 08:35)

• Edna, distraught, recounts a folk legend: disturbing graves can provoke a poltergeist—an evil spirit that kills or destroys.
• The mood becomes tense as Edna panics, and the others try to reason with her, but fear mounts after a stone flies from the graveyard and injures Edna.

  “An evil spirit. It comes out of the grave. It kills and destroys. It’ll kill us. It’ll kill us all.” — Edna (08:01)

4. The First Supernatural Attack and Its Aftermath (08:55 – 14:33)

• Edna is cared for by a local doctor, but suspicion arises as to how the rock struck her—no one saw who threw it, and the implication of supernatural force lingers.
• The other girls are wracked with guilt and fear, trapped by circumstances and their own imaginations.
• Edna is later found dead in bed, her head crushed by a tombstone—impossibly carried from the remote graveyard.

  “The girl on the bed, her head. It’s crushed flat in by a rock.” — Kay (13:04)
  “God in heaven, it’s not a rock. It’s a tombstone.” — Doctor (13:18)

5. Descent Into Terror and Guilt (14:33 – 19:26)

• Both Florence and Kay spiral into guilt, believing their actions—dragging Edna into the countryside, dancing on the grave—caused her death.
• The supernatural angle deepens as a menacing atmosphere pervades; the doctor and bystanders are unnerved by the unexplained appearance of the heavy tombstone indoors.
• Unseen forces seem bent on vengeance as the girls brace themselves for another visitation.

6. The Climax: The Final Toll of the Poltergeist (19:26 – 24:40)

• Kay, beset by guilt and determination, sneaks out in the freezing night to confront the source of evil at the graveyard. Florence follows.
• Searchers pursue them across the snowy valley, only to find both girls dead—frozen to the ground with their skulls similarly crushed by tombstones.

  “Look at them. That’s the burying ground up there. And they’re dancing. Dancing on the graves.” — Searcher (23:26)
  “Both of the girls froze stiff to the ground. Each with her head crushed...tombstone.” — Doctor (24:40)

7. Epilogue and Reflection (24:40 – 26:40)

• The doctor and locals struggle to rationalize the impossibility of what they’ve witnessed—a supernatural force, or an elaborate murder?

  “You can’t deny what you see with your own eyes...no, he won’t, Doc. There ain’t nobody that takes in breath and leaves out breath like you and me is going to find out who killed that girl.” — Locals (14:51)

• Arch Oboler returns, sharing a real historical case of a poltergeist to reinforce the episode’s theme: some happenings are beyond explanation.

  “There are authenticated records in existence... a certain room in a certain house was deluged by stones thrown from no apparent source.” — Arch Oboler (25:00)

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Notable Quotes & Memorable Moments

• Warning to Listeners:
  “If you fright easily, turn off your radio now. But if you’re fascinated by the mysterious, the fantastic, the unearthly, then anticipate chills in our story of Poltergeist.” — Arch Oboler (00:47)
• Edna’s Superstitious Panic:
  “You danced on the grave. I saw you...The poltergeist...an evil spirit. It comes out of the grave. It kills and destroys. It'll kill us.” — Edna (06:53–08:07)
• Chilling Discovery:
  “Her head. It's crushed flat in by a rock...It's not a rock. It's a tombstone.” — Kay and Doctor (13:04, 13:18)
• Unanswered Mystery:
  “There ain’t nobody that takes in breath and leaves out breath like you and me is going to find out who killed that girl.” — Local (15:16)
• Dance of Death:
  “That’s the burying ground up there. And they’re dancing. Dancing on the graves...Both of the girls froze stiff to the ground. Each with her head. Crushed the hair. Tombstone.” — Searchers (23:26, 24:40)
• Historical Echo:
  “There are authenticated records in existence that... a certain house was deluged by stones thrown from no apparent source.” — Arch Oboler (25:00)

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Timestamps for Key Segments

• Introduction and Set-up: 00:02 – 01:42
• Arrival in the Snowy Countryside: 01:42 – 06:47
• The Graveyard and the Poltergeist Legend: 06:47 – 08:35
• First Incident and Aftermath: 08:55 – 14:33
• Escalating Fear and Death: 14:33 – 19:26
• Final Catastrophe at the Graveyard: 19:26 – 24:40
• Epilogue and Host Reflection: 24:40 – 26:40

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Tone and Style

The episode evokes the classic, atmospheric dread of Old Time Radio horror—layering everyday dialogue with mounting terror, superstition, and a final, bleak surrender to the supernatural. With its tense exchanges, rising hysteria, and chilling sound effects, the performance plunges listeners into the heart of a winter nightmare. Arch Oboler’s measured, almost scholarly final remarks underscore both the horror and the mystery, leaving more questions than answers.

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Conclusion

Poltergeist masterfully captures psychological and supernatural horror, turning innocent revelry into a nightmare where guilt, folklore, and icy revenge collide. The hosts and characters maintain a period-authentic, conversational style, punctuated by panicked outbursts and grim resignation. It's a haunting listen, skillfully designed to leave audiences uneasy and wondering whether some forces should indeed be left undisturbed.

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Transcript

[A]

Welcome back to the Horror Old fashioned fear. Since 2007, every Saturday at relicradio.com our story comes from Lights out. This week. Series that aired primarily from January of 1934 to August of 1939 produced 274 episodes. It returned in a series of rebroadcasts through the 1940s. Today's story was first heard December 16th of 1936. This version is probably from the rebroadcast on October 20th of 1942. Here's Poltergeist.

[B]

Ironized Yeast presents. Lights out, everybody. It is later then, you think this is Arch Ober 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 fright measly, turn off your radio now. But if you're fascinated by the mysterious, the fantastic, the unearthly, then anticipate chills in our story of Poltergeist.

[C]

Jingle bells, jingle bells Jingle all the way oh, what fun it is to ride In a one horse open sleigh hey, that was swell. Now let's go to town. St. Louis woman with her diamond ring Kicking that man around no, stop that, Kay. What's the matter? Am I scaring the horse? Seems like a sacrilege singing a song like that out here. This beautiful clean snow and blue sky. Well, what's wrong with a hot song to keep us warm? If you think the St. Louis Blues is gonna dirty up the snow, you ought to hear Frankie and Johnny the way I sing it.

[B]

Oh, stop it, Kay.

[C]

You're not funny at all. Why can't you enjoy the fresh air without that cabaret sort of thing? Just an old fashioned gal, eh, Florence? How about you, Edna? Don't you like my songs either? You haven't said anything for the last five minutes. Well, I. I haven't been listening to you. To tell the truth, I love to watch the snow sort of flow along under the sleigh. When you say that, gal, smile. Gosh, did you ever see more snow in your life? The man at the hotel said it'd been snowing on and off up here for two weeks. I think coming out here to the country's the best thing we three have done since we started rooming together. Hiking in the snow is terribly healthy. Yeah, that's what I'm afraid of. The healthier I get, the worse I feel.

[B]

Crazy idiot.

[D]

She does say the funniest things, doesn't she?

[C]

I always say that. Chaotic. Whoa. Hallelujah. We're here. Is this as far as we go, driver?

[B]

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

[C]

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

[B]

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 Ma Jenkins.

[C]

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

[B]

So long. Take care of yourselves, girl.

[C]

Come on, Edna.

[D]

Goodbye, missing care.

[C]

Well, 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 night. Constitutional amendment with rock salt? No, thank you. Don't talk nonsense, Kay. We're not. Just to think. 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. But 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.

[D]

Sure. Say, who was this guy?

[C]

Daniel Boone? What's an amphitheater? Well, that means an oval circling place with rising tiers of seats. You know, like that place we went to for the horse show back in the times of the Greeks. They had outdoor theaters. Listen to the program. And they used to 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 K Follies. It's awful snowy here, isn't it? I'LL trample it down with my spring dance. Welcome. Sweet. Isn't she a nut dancing in the snow.

[D]

If I had that girl's energy.

[C]

She's really graceful, isn't she?

[D]

I'll bet if she went on the stage. Kay. Kay. Kay, did you hurt yourself?

[C]

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?

[D]

Oh, no wonder.

[C]

Look at that rock under the snow.

[D]

No wonder.

[C]

I did a nose dive.

[D]

Oh, my goodness. There are rocks like that all over.

[C]

A person could break their neck if they. Girls. What's the matter?

[D]

What is it, Kay?

[C]

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. What? A stone tombstone. Oh, no, it can't be. It for yourself. It says. Here lies buried the remains of one who restless in life. Stop.

[D]

Don't read anymore.

[C]

Stop. And. And all these other stones laying flat on the ground, they're tombstones too? Yes. What a place to fix a dance.

[D]

What's the matter, Edna?

[C]

What did you scream for?

[D]

Yay. You danced on the grave.

[C]

What?

[D]

You danced on the grave. I saw you. I saw you do it. You danced on the grave. Okay, Edna, stop it. Stop it.

[C]

What's come into her?

[D]

Edna, stop acting.

[C]

For heaven's sake, control yourself.

[D]

Okay, Kay, I'm so sorry for you. You danced on a grave.

[C]

For heaven's sake, stop talking like that. Sure, I danced on a grave. Well, yes, of course you did. It was perfectly accidental.

[D]

And what if it wasn't?

[C]

Whatever.

[D]

The polar guy.

[C]

The what? Edna Hanson, what are you talking about? What's that word you just used?

[D]

Holdergeist.

[C]

Okay. What have you done, you superstitious little fool? If you don't stop talking that way, I'm gonna slap your face.

[D]

What's the matter with you?

[C]

I didn't do anything.

[D]

You walked on the grave. You danced on the grave.

[C]

Edna, be sensible. We all walked on graves. But it was purely accidental. We had no intention of desecrating them.

[D]

It doesn't matter, I tell you. It doesn't matter. The poltergeist.

[C]

He'll come.

[D]

I know he will.

[C]

Oh, what's the use? She's crazy. Edna, what are you talking about? What's the poltergeist? What are you so frightened about?

[D]

My father. He told me if you walk on A grave. If you dance on a grave. The poltergeist. Poltergeist? What?

[C]

What is a poltergeist?

[D]

An evil spirit. It comes out of the grave. It kills and destroys. It'll kill us. It'll kill us all.

[C]

Stop it.

[D]

Our police, my office will. But it won't get me. Edna, come back here. She's gone insane. I'll get her everything. Catch her. Edna. Edna, don't run away. Nothing will hurt you. Nothing. Oh, Edna. Look out.

[C]

Kay.

[D]

Kay, what happened? That stone. It hit Edna.

[C]

Edna.

[D]

Edna, open your eyes. Blood. Blood all over her face. Kay, who threw that stone? Who threw it?

[C]

I don't know. It came from the graveyard.

[B]

Now girls, take it easy. Take it easy.

[D]

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

[B]

No, no, of course not.

[C]

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

[B]

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

[C]

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?

[B]

Board? 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.

[D]

Oh, Flo, what do we do?

[C]

You go home, Kay. I'll stay with her.

[D]

Oh no, you won't.

[C]

I'm not leaving you here alone in this God forsaken place. If you stay, I stay too. Kay, please be sensible. Why should we all lose our jobs when you.

[B]

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

[C]

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

[B]

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

[C]

Yes, Doctor.

[B]

The constable's 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?

[C]

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

[B]

Yes, yes, I know. But who threw the rock? We.

[C]

We don't know.

[B]

What?

[C]

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

[B]

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

[C]

For heaven's sakes, old man, you don't think we did it? 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 we just didn't see who threw it.

[B]

All right, if that's your story. You better stay in your rooms here. I mean, you better not believe it until 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.

[C]

He doesn't believe us. What difference does it make? We know what we saw. But what did we see? She was running.

[D]

She.

[C]

She fell. Ok, well, let's not fool ourselves. There was no one there to throw that rock. There must have been. 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.

[D]

Remember what?

[C]

Whatever says it throws things. Stop looking at me like that.

[D]

You're giving me the jitters.

[C]

She said the poltergeist throws things. Spirit of evil. Florence. Robb, have you gone crazy too? How 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.

[D]

How do we know?

[C]

What are you talking like that for? What are you trying to scare me for?

[D]

You.

[C]

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.

[D]

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. Dirk, it Won't you let me? Edna, what is it? Edna, what on your head.

[B]

Hey, what's going on here? I run a decent place and I don't want you.

[C]

The girl on the bed, her head. It's crushed flat in by a rock.

[B]

God in heaven is not a rock. It's a tombstone.

[C]

I. I wish I could cry, but I haven't got any more tears. Lawrence, darling, please. You'll kill yourself if you keep on like that. Oh, this horrible night would only end.

[D]

It was my fault. Mine.

[B]

I was the one who got her out here.

[D]

She didn't want to go. She hates the country. But I made her come. I made her.

[C]

No, no, you're not the one to play. I am. I danced on the grave.

[D]

But she was so good, so sweet. Oh, why does it have to be Edna? Why?

[C]

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.

[B]

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. That's just the trouble. You don't know and I don't know and nobody knows. Yeah, And. 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 flapp 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.

[C]

Terrible. Clock, ticking, ticking. Yeah, I know. I've been sitting here listening to it. I can't stand it anymore. I'll stop it. Why bother with 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.

[D]

There.

[C]

Out there to the graveyard.

[D]

What?

[C]

I'll talk to her. I'll tell it I didn't mean to do it. That I didn't know where I was dancing. Maybe somehow it'll hear. Listen to me. And then it won't hurt you.

[D]

No. No.

[C]

I won't let you go out there. It'll kill you.

[D]

It'll kill you too, Flora. No. No, I' you can't go. You can't.

[C]

All right. Come on to bed, Kate, please.

[D]

In the morning.

[C]

In the morning, things will be different.

[D]

But it won't.

[C]

Nothing will hurt us.

[D]

And then they're right outside the door. They won't let anything get at us.

[C]

Oh, please, Kate. Please come to bed. Yeah, We. We'll pray. Pray? I. I don't exactly know how to say anything.

[D]

Anything like this.

[C]

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 up, I pray the Lord my soul to take. Kay? Kay, 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 so, Kay? I'm not quite sure what happened. I always used to be so sure about things, and now I. Kay?

[D]

Kay, where are you? Kay?

[C]

Where?

[D]

The window. She went out the window.

[C]

She's gone out there to the graveyard.

[D]

To talk to it. Okay. Why did you go? Why did you go?

[C]

I'll go out there too, or she'll be so frightened out there alone. I'll go too.

[D]

I'll go too.

[C]

Oh, so cold. My hands. Nose so sharp. Cutting my legs. Oh, why did you go out there, Kay?

[D]

Why did you? I've got to find you.

[C]

Wind. Why doesn't the wind stop? Blow, blow, thou winter wind. Though I'm not so unkind.

[D]

I've got to find you, kid. I've got to find you. It's snowing.

[B]

I love snow.

[C]

Edna didn't like snow.

[D]

Where are you, Kidd? Where are you? I'm on my way. I've lost the road. Where are you, Kay? Kay, where are.

[B]

You?

[D]

Okay.

[C]

I heard you, Kay.

[D]

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.

[B]

Won't we, Kay?

[D]

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, I hear you. I hear you. Where are you? Where are you now?

[B]

This way, Hooper. They must have come this way. Climbing out the window like that in the middle of the Night. They must have gone crazy, the both of them. That's not. Worry about that now. We've got to find him. Here, give me that man. What is it, Doc? What have you found? 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 through. Doc, look at this. What is it?

[C]

Over there.

[B]

Ain't these footprints? Yes, yes, yes, that's right. Footprints.

[C]

Hello.

[D]

Up ahead.

[B]

Hello, Doc. Where? 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 yard. All right, all right. You don't have to get so sore, Doc.

[C]

Hello.

[D]

Hello. Anybody up there?

[C]

Hello.

[B]

Doc.

[C]

Doc, look. There they are up ahead.

[B]

Glory be. They're alive. The both of them. Come on, duck. Duck. Look at him. 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.

[D]

Doc, wait for me.

[B]

Oh, Doc. It's dark again. Where are they, Doc? Where are the girls? Have they. Have they stopped dancing?

[D]

Yes.

[B]

Huh? They've stopped dancing. Did. Did they ever dance? What are you talking about, Doc?

[D]

We saw them.

[B]

We saw them dancing in this place.

[D]

With our own eyes.

[B]

Did we? The moonlight. Here it comes again. See with your eyes again.

[C]

Oh.

[B]

Both of the girls froze stiff to the ground. Each with her head. Crushed the hair. Tombstone Mr. Oler, would you mind telling us me whether there actually are such things as poltergeist? 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 in 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? Well, anything can happen. But specifically next week. Mangara. A strange title and a strange story. A 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. It is later than you think.

[A]

There's more from Lights out, the Horror and all of the Relic Radio shows at the website relicradio.com if you'd like to help support this and all of the shows, you can do that through the website as well. Visit donate. Relicradio.com or click on one of the support links in the show notes. Your support makes it all happen. Thanks to those who help have helped out. Thanks for joining me this week. Be back tomorrow with Strange Tales and next Saturday with our next episode of the Horror.