The Dream by Lights Out

Summary

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The Horror! (Old Time Radio)

Episode: "The Dream" by Lights Out
Host: RelicRadio.com
Date: January 11, 2026
Featuring: Boris Karloff
Original Air Date of Play: March 28, 1938

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Episode Overview

This episode of The Horror! dives into a classic psychological thriller from the golden age of radio: “The Dream,” written by Arch Oboler for the “Lights Out” series and performed by Boris Karloff. The story centers on Darrell Hall, a rational man who has never dreamed—until one night a terrifying vision shatters his reality. The episode explores themes of madness, guilt, supernatural influence, and the blurred line between dream and waking horror.

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Key Discussion Points & Plot Breakdown

Introduction to "Lights Out" and Boris Karloff (01:02–02:16)

• The Horror! host provides background:
  • "Lights Out" aired between 1934–1939, with rebroadcasts in the 1940s.
  • Boris Karloff is featured in a special anniversary broadcast.
• The episode is framed as “another psychological drama. A play in which the principal part is taken not by the character himself, but his thoughts.” (02:52–03:12)

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Darrell Hall’s Ordeal: Overview of the Story

The Courtroom, the Mind, and the First Dream (02:52–08:17)

• Darrell Hall, accused of murder, anxiously awaits the jury’s verdict.

• He recalls his first dream—having previously never dreamed in his life, despite his friend Wayne’s disbelief.

• Quote - Darrell Hall (04:32):
  “A dream to me is just a word. Something that happens to other people, but not to me.”

• That night, Darrell falls asleep and vividly describes the onset of nightmares:

  • A procession of pale, hopeless faces and a beautiful, seductive woman with a monstrous, bloodied face.
    • She commands, chillingly:
      • Woman (08:02): “You.”
      • Woman (08:07): “Kill.”

The Dreams Intrude upon Reality (08:17–15:58)

• Darrell awakens shaken. The line between dream and waking blurs.

• He suffers an episode at dinner with his fiancée, Mary, when he sees the woman from his dream behind Mary’s chair in a restaurant, reacting in panic and fear.

• Mary (12:14):
  “Is there something wrong?”

• Darrell (13:15):
  “If you don’t mind, let’s not talk about it anymore.”

• Darrell rationalizes that it’s a result of stress, exhaustion, or hallucination—but doubts persist.

The Repeating Haunting at Seven and Descent into Madness (15:58–20:56)

• Each haunting occurs precisely as the clock chimes seven.
• The woman, and a cacophony of lost souls, continue to urge Darrell:
  • Supernatural voice (17:50): “Kill.”
• The voices and the woman’s bloody visage intensify his mental torment.
• Darrell isolates himself, consumed by a sense that something supernatural is working through him.

Tragedy Strikes—Mary’s Death (20:56–23:09)

• Mary, worried for Darrell, pleads for him to come over.

• At her house, the phantoms and the woman's command crescendo.

  • Woman's voice and spectral chorus (22:43): “Kill. Kill. Kill.”

• In a trance, Darrell strangles Mary, then realizes with horror what he has done.

  • Darrell (23:09):
    “Yes. I had killed her. My sweet, gentle little Mary. Killed her with my own hand.”

Aftermath and Search for Release (23:09–28:46)

• Darrell, numb, carries Mary’s body through the streets and confesses openly.

• Arrested and tried, he shuns all attempts to save him, believing his only hope of escaping the woman’s torment is execution.

  • Darrell (27:11):
    “I killed her. With my own hands I killed her and… Please, I want to die.”

• The supernatural voices taunt, lament, and promise release only through ‘expiation.’

  • Voice (25:52):
    “Pay for what you have done.”
  • Darrell (26:06):
    “My one hope. If I paid society for my crime, she would fail. I would be free of her… that essence of evil.”

The Verdict and Ultimate Fate (28:22–29:18)

• The jury finds Darrell guilty of murder in the first degree.

• As the sentence is delivered, the supernatural presence claims him—he dies of a heart attack.

  • Mary (29:18):
    “Stand back, please. It’s no use. This man is dead. Heart attack. Holy—would you take a look at his face? Yeah, as if he was looking at the devil himself.”

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Notable Quotes & Memorable Moments

• Darrell Hall (04:32):
  “A dream to me is just a word. Something that happens to other people, but not to me.”
• Dream Woman (08:02, 08:07):
  “You… Kill.”
• Mary’s Realization (13:12):
  “Did you have a nightmare?”
• Darrell Hall to Jury (27:11):
  “Who killed her? I killed her. With my own hands I killed her and… Please, I want to die.”
• Supernatural Chorus (25:42):
  “No use. I heard them. Only one hope for you, man. One hope. Expiate your crime.”
• Courtroom Attendant (29:18):
  “Yeah, as if he was looking at the devil himself.”

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Key Timestamps

• 01:02 – Host introduces Lights Out and Boris Karloff’s role.
• 02:52 – “The Dream” begins: Darrell Hall’s introspective narration in the courtroom.
• 04:00–05:30 – Discussion with Wayne on never dreaming.
• 07:45–08:11 – The terrifying dream woman appears and commands “Kill.”
• 12:09–13:25 – Mary and Darrell discuss his dream; first cracks in his mental state.
• 14:28 – Darrell panics at the restaurant; the dream woman appears in waking life.
• 16:14 – The pattern of haunting at seven o’clock establishes.
• 20:22–21:08 – Mary tries to comfort Darrell as his hallucinations worsen.
• 22:43–23:09 – Darrell kills Mary under supernatural compulsion.
• 27:11 – Darrell confesses in public, demanding punishment.
• 28:46 – Jury delivers verdict; Darrell dies before execution, haunted to the last.

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Themes & Tone

• The narrative is driven by an intense, expressionistic monologue—Darrell’s internal struggle takes center stage, with external dialogue serving as sparse punctuation.
• The tone alternates between rational calm, escalating dread, and psychological horror, accentuated by the haunting voices and Karloff’s chilling delivery.
• The story chillingly presents the idea of evil as an inescapable, external force, preying on human weakness and guilt, with a protagonist who can only find peace through self-destruction.

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Final Thoughts

“The Dream” stands as a masterwork of psychological horror and radio storytelling. Karloff’s performance, the swirling mass of tortured voices, and the inexorable march toward tragedy make this episode memorable—not only as an artifact of old-time radio, but as a powerful meditation on guilt, sanity, and the supernatural.

Listeners should be prepared for a climax steeped in existential terror, with sound design and voice acting that continue to reverberate long after the final gavel falls.

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Transcript

[Darrell Hall]

Oh, stories, real stories and murders do.

[Mary]

Turn out your legs.

[Darrell Hall]

Turn them out. Good evening. Come in, won't you? What's the matter? Surely you're not nervous. For example, car, I think restored. We are meant to call from out of the past. Stories, strange and weird tales of mystery and terror by radio's masters of the maa. Stories of a supernatural the supernova dramatized the mysteries, the unknown. We tell you this. Frank. Frank. So if you wish to avoid the excitement tension of these magic play ladies, we urge you our latest seriously to turn off your way down.

[Podcast Host]

Welcome back to the Horror. Thanks for joining me. This week we're gonna hear this time from Lights out series that debuted over NBC stations in January of 1934. Aired until August of 1939, 274 episodes, the series returned to radio and a number of rebroadcasts through the 1940s. Our story today features Boris Karloff from March 28, 1938. Here's the dream.

[Darrell Hall]

Tonight is the fourth anniversary of Lights Up. After four years of fantasy and imagination, chills and thrills, Lights up celebrates by bringing to the microphone the internationally known actor whose name has become synonymous with the unusual and fantastic. The National Broadcasting Company takes pleasure in presenting Boris Karloff in the first of a special series of Light out broadcasts. Light out, everybody.

[Mary]

Sam.

[Darrell Hall]

Tonight, Lights off presents another psychological drama. A play in which the principal part is taken not by the character himself, but his thoughts. The voice you are about to hear is that of the thoughts of one Darrell hall, accused murderer, sitting in a courtroom awaiting the return of a jury which is to decide whether he is to live or die. And as he waits, the thoughts in his mind seethe and swirl. See them swirl. Guilty. Words. Not guilty. Guilty. Not guilty. Guilty. Father in heaven, why don't I stop thinking those words? Words those jurymen are saying. He's guilty. He's not guilty.

[Mary]

He's guilty.

[Darrell Hall]

Not guilty. Guilty. No. No. I've got to stop thinking of what's going on in that room. The jury. I've got to stop thinking of them. I've got to keep my head clear. I've got to figure things out. When did all this start? Yes, I remember that night. Wayne and I were sitting in my room talking about dreams. I remember he said. Oh, come on, Gerald, don't expect me to believe that one. Well, I'm certainly telling you the truth. A fellow with your imagination wasting his time teaching biology to a bunch of co ed nitwits. No, sir. You should be writing fiction. I assure you, my dear Wayne I've told you the truth. You're really serious? Of course I am. You actually mean that in all your life, you've never had a dream? Never. Not even when you were a child? To my knowledge, I've never had a dream in all my life. Well, how do you like that? I like it very well. I close my eyes, oblivion, and then I wake up. No nightmare hangovers for me. Now, wait a minute, Darrell. Let me get this straight. You mean you've never even had a dream after, you know, eating a Welsh rare bit at midnight or surrounding a dozen green apples or anything like that? Believe me, Wayne, I've never had a dream of any shape, form or description in all my life. A dream to me is just a word. Something that happens to other people, but not to me. But everyone must dream. Well, perhaps. But it just so happens that my subconscious doesn't work that way. I tell you again, I have never dreamt. Well, what do you know about that? Just unbelievable, I tell you. Unbelievable. Yes, that's what he said. Unbelievable. It was unbelievable that I'd never dressed. Then after a while, he went away and left me there. It was early evening, but I remember that somehow, strangely, I was very tired. I sat down in the easy chair. Oh, I was so tired. Closed my eyes. I slept. And then. Then it happened. A strange murmuring in my head. Yes, that's how it started. A murmuring, as if in warning. And then in the darkness around me, strange faces lifting and falling. White faces. Faces without hope. Their eyes full of horror. Their white, bloodless lips bleeding wordlessly in a way that made the heart of me cry out in pity. Suddenly I knew I was asleep. And dreaming. Yes, dreaming for the first time in my life. And these faces I was seeing were things out of a dream. And even as I knew that the dream was gone. Blackness. And yet I knew that I was still asleep. And I had a terrible feeling of foreboding. Of a horror to come in that dream. What? How? I didn't know. For I wanted to stop sleeping. I wanted to open my eyes quickly before. And then I saw her. Moving slowly toward me out of the darkness. That was my dream. At first, a white wraith like thing. Then I saw it was a woman. Yes, the body of a woman. But the face, Father in heaven, that face. Gross, unclean. Thick bestial brows. Wrinkles of finery. The lecherous writhing of thin crimson lips that lifted from teeth, bite and pointed and flecked with blood. Yes, a glorious body and a face from hell. Closer. Closer to me. And Then she spoke one word.

[Mary]

You.

[Darrell Hall]

Yes, that's what she said.

[Mary]

Kill.

[Darrell Hall]

And as she said it, she moved closer. Her hands went out her eyes.

[Mary]

In my dream, I screamed.

[Darrell Hall]

I awoke. I remember just at that second, the clock on the mantle began striking. Five, six, seven. Thankfully, I counted each chime since. The hearing of it meant that I was awake. Awake out of the horror of that dream. When the prophet stopped chiming, I sat there. My one thought. If this be dreaming, let me never dream again. I heard a sound. What was their high stat? Still afraid to move. And then I laughed. It was my own heart, my own heart, still pounding with fright at what I'd seen in my first grievance. Oh, why do I sit here thinking of what has been? The jury in there. They've got to hang me.

[Mary]

Free him.

[Darrell Hall]

They've got to hang me. No, no, I mustn't think of that. Better to keep my thoughts on how it all started. Better to figure things out. Where was I? Ah, yes, sitting there, listening to the beating of my heart, thinking of the horror of that dream. And then suddenly, her strange wordless murmur I had heard in my dream was whispering in my head again. Quickly as it began, it was gone. How could this be? I was awake. Awake. This was no dream. Then why had I heard that wordless entreaty, that same sound that had come from those miserable white faces that had floated before me while I slept? Why? Why? I heard it sound behind me. Who? Why, yes, my friend Wayne must be. He come back into the room, standing behind my chair, thinking I was asleep. I turned round and said, Wayne. Is that. Yes. I screamed. I screamed so loudly there was blood in my throat. For it was she again. That woman. That woman out of my dream. But this wasn't a dream. She was standing there, I tell you. She was standing there close to me, looking at me. And those lips out of hell said that one word. I jumped to my feet. No one in the room. No one, I tell you. I remember standing there, my head reading. Who was she? Where did she come from? But there was no one in the room. Had there been anyone there? I didn't sleep that night. But by morning, yes, by morning I had it all figured out. Two dreams, that's what it had been. And the second had been more vivid than the first. Why, of course, I'd never dreamed before. So of course my first dreams would seem reality. How easy it was to quietly unrest in my mind. Easy to make oneself believe what one wants to believe. And yet some measure of uncertainty remained with me. And Mary saw it in my face when I had dinner with her that night.

[Mary]

Darrell, do you mind if I ask you something?

[Darrell Hall]

What? A question. Of course not.

[Mary]

Is there something wrong?

[Darrell Hall]

Do you mean with the dinner? Well, you know, this is my favorite restaurant.

[Mary]

With you, dear. Has something gone wrong at the university?

[Darrell Hall]

Why do you ask that?

[Mary]

The worry in your eyes.

[Darrell Hall]

Oh.

[Mary]

What is it, dear?

[Darrell Hall]

Oh, it's nothing. It's nothing important.

[Mary]

You've changed your mind about loving me, Mary. Then tell me what it is. Please.

[Darrell Hall]

All right. It's really nothing to concern yourself over. Just a dream.

[Mary]

Dream? Sarah, you dreamt?

[Darrell Hall]

Yes, last night.

[Mary]

How marvelous. Now you're normal even when you sleep.

[Darrell Hall]

That's right, isn't it? I'm back to normal, Sia.

[Mary]

And here I thought from the expression on your face that it was something really important.

[Darrell Hall]

Sorry. Isn't it?

[Mary]

And I suppose in your first dream you dreamt of a glorious, seductive woman?

[Darrell Hall]

No. Mary. Ah.

[Mary]

Did you have a nightmare?

[Darrell Hall]

If you don't mind, let's. Let's not talk about it anymore. Shall we have our dessert now? Now I suggest the hot green apple pie. With cheese.

[Mary]

Darrell, was it as bad as all that?

[Darrell Hall]

Horrible.

[Mary]

Oh, that's cruel. Your very first dream. An unhappy one. Oh, well, I'm sure that if you dream again, you've more interesting times ahead. Darryl, look at the time. A minute to seven. And we promised the Armstrongs we'd pick them up at 7:15. Darryl, what is it? Your face.

[Darrell Hall]

Do you hear it?

[Mary]

Hear what?

[Darrell Hall]

You do hear it, don't you? The voices.

[Mary]

What? Darrell, what are you talking about? Why, the people in this restaurant are most well behaved.

[Darrell Hall]

Gone. Just the way it was before.

[Mary]

Daryl, please. If this is a joke, please tell it to me. Darrell, what is it? What are you staring at? What's behind my chair? What's there? Darryl? Tell me. What? Darryl, the table. Why did you throw over the table? Darryl, what is it? What is it? Why did you scream like that when Savannah took you down?

[Darrell Hall]

Yes. She wanted to know why I had done it. Screamed, thrown over the table. They all wanted to know. But how could I tell them? Tell them of her standing behind Mary's chair. That thing of degradation. And those lips saying kill. I went home. Mary thought I was overworked.

[Mary]

Oh, no, darling. You've been working so hard. Go home and rest, dear. That's all you need. Rest.

[Darrell Hall]

Rest. Rest. What good was rest? I had to reason things out. All my life I lived with reason. And now this. Miss Horror. I had to know all about it. Now I was certain it was no dream. What I had seen there in the restaurant had been no thing of sleep. Hallucination.

[Mary]

Yes, that was it. I had been working hard.

[Darrell Hall]

Too much work was the answer. And rest would cure that. Yes, indeed. And so I rested through the next day. It was quite dark When I awoke, the phone rang. It was Mary, calling to find out how I felt.

[Mary]

Are you sure you're all right, Darryl?

[Darrell Hall]

Why, yes, Mary. Yes, I'm fine, thank you.

[Mary]

You sound all right.

[Darrell Hall]

Your advice was good, dear. Apparently, rest was just what I needed.

[Mary]

Then go along back to bed. I'll talk to you tomorrow.

[Darrell Hall]

All right, Beatrice. Thanks for calling.

[Mary]

Goodbye, Darrell. Sleep well tonight.

[Darrell Hall]

I hung up the receiver. And then the clock on the mantle behind me began striking. Always at seven. Always at seven.

[Mary]

Always at 7.

[Darrell Hall]

Yes, that was true. Each time it had been 7 when it had happened. And then, with the last chime of the clock, I realized it was seven again. Seven. Would I see her again? I stood there, back against the wall, waiting. So quiet. I could hear the clock ticking away the seconds. Would it happen again, this hallucination of mine? I waited. I heard no pitiful murmur of voices. Just quiet. So quiet. Dark in the room. I could see the shadowy emptiness of a chair near the other wall. And then the chair was no longer empty. There was someone in it. I said, who's there? Answer me.

[Mary]

Who's there?

[Darrell Hall]

No answer. A strange darkness in the room. Deeper and deeper. I could see nothing. And then, through swirling pools of flame, led right closer and closer. I stood there.

[Mary]

I couldn't move.

[Darrell Hall]

A rumbling began in my brain. Fear, I tell you. Fear. Tearing up my brain louder and louder, while those red circles of light came closer and closer.

[Mary]

Father in heaven, what was it?

[Darrell Hall]

And then I knew. It was her eyes. Her eyes burning close into mine. Into the brain of me, pounding one thought into me.

[Mary]

Kill.

[Darrell Hall]

Kill.

[Mary]

Kill. Kill.

[Darrell Hall]

Why did she say that? Why kill whom? Why should I kill? Why should I kill? If I had. The jury. They're coming back. The verdict. What? No, not yet. Stare out. They've got to find me guilty. I've got to hang. I've got to if I live. Oh, but I mustn't think of that. I must think of what happened. Where was I? Ah, yes, that fat woman. Her eyes pounding that word into me. And then gone again. But this was no dream. Then what? A voice within me whispered, Crazy.

[Mary]

Crazy. Crazy. No. I was thinking that horror was real.

[Darrell Hall]

Real and befriended me. And with that realization, the coldnesses of a wind blew around me and clutched at my heart. For if she was reality, somehow I knew that I was lost. And so it began. Night after night, the stroke of seven. First that wailing dirge of those lost souls. And then her writhing lips.

[Mary]

Kill, kill, kill the killer. Kill, kill, kill, kill, kill, kill.

[Darrell Hall]

Father in heaven. The words began pounding in my head so that even when she wasn't there, I heard them. I hid in my room. I didn't go out. People would see this madness that had come over me. I went nowhere. And soon I knew that they were talking of them. Come over. Darrell hides in his rooms. Won't even talk. Talk to me. Something's wrong, Mary.

[Mary]

Please, Earl, you've got to let me see you. This talking over the poor note. Darling, what's wrong? What's wrong?

[Darrell Hall]

Night after night, the horror of. And the greater horror of.

[Mary]

The.

[Darrell Hall]

Mary pleaded with me.

[Mary]

Darryl, if you love me, please let me see you, talk to you. Come over to my house tonight. Oh, please, Darryl. Perhaps I can help you. Please, darling. Please.

[Darrell Hall]

I didn't want to go, but I went that night. Perhaps she could help. Yes, help me understand the madness of those wailing voices and drifting white faces. Understand the horror of that woman and that maddening words. Mary, so understanding, so gentle. She could help me clear my head of the madness.

[Mary]

Oh, dear. On your headline.

[Darrell Hall]

Mary, help me. You will help me.

[Mary]

Oh, dear. On your face so white. Oh, I don't talk yet. Sit here and rest.

[Darrell Hall]

I'm saying, Mary, believe me.

[Mary]

I'm saying, of course, dearest. Of course.

[Darrell Hall]

You are that madness outside of me. Those white, drifting faces moaning at me.

[Mary]

Rest, darling.

[Darrell Hall]

And that woman out of hell.

[Mary]

Woman.

[Darrell Hall]

Her eyes and lips telling me to. The time. The time. What time is it?

[Mary]

At 7. Daryl, what is it? I've lost track.

[Darrell Hall]

I've got to get out.

[Mary]

Daryl, don't wait. Don't go.

[Darrell Hall]

Too late.

[Mary]

Daryl, what is it?

[Darrell Hall]

Too late.

[Mary]

Late.

[Darrell Hall]

You hear them, don't you, Mary?

[Mary]

I'll go call a doctor.

[Darrell Hall]

Listen to them. Their voices are so loud tonight. Listen, Mary.

[Mary]

No, don't. There's no one here.

[Darrell Hall]

You hear them. You must hear them. What are they saying? Louder and louder, trying to tell me something.

[Mary]

What are you saying? You are there. What are you telling me?

[Darrell Hall]

Stop. They're gone. Face. His voice is gone. How he'll be.

[Mary]

Oh, darl, please. You're right. Make me.

[Darrell Hall]

You hear her, Mary. You hear her? No.

[Mary]

No, dear, please. What do you want to be? Stop it. Stop it. I'm not standing at all.

[Darrell Hall]

Yes. Yes.

[Mary]

Go away.

[Darrell Hall]

Go away.

[Mary]

And I'm kill and kill. I'm kill. My neck. Don't kill me still. No.

[Darrell Hall]

Kill. Kill.

[Mary]

Kill. Kill.

[Darrell Hall]

Mary.

[Mary]

Mary.

[Darrell Hall]

Yes. I had killed her. My sweet, gentle little Mary. Killed her with my own hand. I opened my hand. She fell to the floor. I went out into the street. People all around me, hurrying. I was in no hurry. What that woman had wanted, I had done. I had killed. I walked all night. It didn't matter where. And in the morning, I found myself on the campus of the school before the very building in which a class was waiting for my lecture. I went in. I walked up on the platform and looked down into their faces. I said to them, ladies and gentlemen, my lecture for today will be on the subject of a selective factor in the evolutionary.

[Mary]

I stopped.

[Darrell Hall]

A murmur in the air. Those voices again. But it was broad daylight. I've never heard those voices in daylight before. What do they want of me? What were they saying? There was a strangeness in their pitiful voices.

[Mary]

Yes.

[Darrell Hall]

Like. Yes, like a dirge. A dirge of tears and sorrow for someone.

[Mary]

For me. Yes, for me. And then her voice.

[Darrell Hall]

Laughing. Laughing, triumphant. Then I understood. For the first time, I understood everything. She had triumphed over me. That is why those lost souls were waving a dirge over me. I was hers.

[Mary]

Hers forever. I danced and ran out of their commandment. Ran. Ran. And as I ran, those voices of the dam you were talking to me.

[Darrell Hall]

Covered with my ears, with my hands, I ran.

[Mary]

No use. I heard them. I had them. Only one hope for you, man. One hope. Expiate your crime.

[Darrell Hall]

Pay for what you have done.

[Mary]

One hope, man. One hope.

[Darrell Hall]

So that was it. My one hope. If I paid society for my crime, she would fail. I would be free of her. That thing, that essence of evil. That siren who called men to murder so that their souls would be slaves to her for all eternity. Yes.

[Mary]

Yes. I favor my crime. I ride on. On back to Mary's house. Yes.

[Darrell Hall]

I failed gladly with my life to have the peace of the rest of Oblivious. I went back into the house. Yes. Mary was lying there, cold. I lifted her. Those same hands that had crushed the life out of her lifted her and carried her out into the sun. My eyes were so filled with tears that I could hardly see where I walked. People began milling about it. He's got a woman in his arm.

[Mary]

Where's he carrying her?

[Darrell Hall]

She must fight it.

[Mary]

No, look. He did. Who killed her?

[Darrell Hall]

Hey, mister. Hey, mister. Who killed her? I did. Who killed her? I killed her. With my own hands, I killed her and. Please, I want to die. And then the trial. My Friends. They wanted to save me. Clever eternities, sanity commissions and twists of the law. But I wanted to die, I tell you, I had to die. If they set me free, if I lived and died as most men die the death they call a natural one, then she would have me.

[Mary]

No, no.

[Darrell Hall]

I want a hang but a neck and killed head.

[Mary]

I want that noose around my neck. The trap beneath my feet. The Jada pulls the switch. My feet dancing in air. The noose strangling me is my hands strangle Mary faithful, my tribal. I'll be free. Free of that horror with the writhing lips Blood Spain teet.

[Darrell Hall]

Order the court. Order the court. The jury. They're coming in guilty. They've got to find me. Gentlemen of the jury, have you reached a verdict? We have, your honor. The clergy of the court will read the verdict. Please give it. Jury, find the defendant guilty of murder in the first degree.

[Mary]

You hear that? You think out of hell, ghoul. Hang me for the next that I said I'll be free of you. I'll have peace. You fail, you feed you. I'll see you right by you. You'll never get. What's the. Angel. Stand tight. Doctor. Doctor. Right this way, doctor. Angeline. Follow Angel.

[Darrell Hall]

Stand back, please. It's no use. This man is dead. Heart attack. Holy. Would you take a look at his face? Yeah, as if he was looking at the devil himself. Ladies and gentlemen, you have just heard the first play in a special series commemorating the fourth anniversary of Lights out and starring Boris Carlos. Next week, Mr. Karloff will appear in another new air drama by Arch Ober, a play suggested by the Sibelius musical composition Walt Triste. It is a story of death and a revenge beyond death. Listen to Lights out with Boris Karloff.

[Mary]

Sam.

[Darrell Hall]

Lights out, written especially for radio by Arch Ober, comes to you each Wednesday evening from our Chicago studios. This is the National Broadcasting Company.

[Podcast Host]

That's the Horror for this week. There's more from lights out@ Relicradio.com alongside past episodes of of the Horror, all of the other podcasts and our shoutcast stream. Lots to listen to there. If you'd like to help support this and all of the shows, visit donate. Relicradio.com or click on one of the support links in the show notes. Your support makes it all possible. Thanks to those who have helped out. Thanks for joining me this week. I'll be back tomorrow with Strange Tales and next Saturday with our next episode of the Horror.