1 00:00:00,000 --> 00:00:10,000 Auto Light and its 96,000 dealers present Suspense. 2 00:00:10,000 --> 00:00:20,920 Tonight, Auto Light brings you Mr. John Lund in The Man in the Room, a suspense play produced 3 00:00:20,920 --> 00:00:24,000 and edited by William Spear. 4 00:00:24,000 --> 00:00:30,000 Harlow, what's the best bait to use for bass? 5 00:00:30,000 --> 00:00:31,000 I don't know, Hap. 6 00:00:31,000 --> 00:00:32,000 Better ask an ichthyologist. 7 00:00:32,000 --> 00:00:33,000 An ichthyologist? 8 00:00:33,000 --> 00:00:36,440 An ichthyologist, an expert on fish. 9 00:00:36,440 --> 00:00:38,840 When I need information, I believe in going to an expert. 10 00:00:38,840 --> 00:00:41,240 That go for spark plug information too? 11 00:00:41,240 --> 00:00:42,240 Sure. 12 00:00:42,240 --> 00:00:46,640 And who knows more about the best spark plugs for your car than Auto Light ignition engineers, 13 00:00:46,640 --> 00:00:50,920 the men who design and build complete ignition systems used as original equipment on many 14 00:00:50,920 --> 00:00:52,640 makes of America's finest cars. 15 00:00:52,640 --> 00:00:56,960 You mean they know how to build into spark plugs the best in quick starting smooth performance 16 00:00:56,960 --> 00:00:58,240 and gas mileage, eh, Harlow? 17 00:00:58,240 --> 00:00:59,400 Of course, Hap. 18 00:00:59,400 --> 00:01:03,560 That's what's made Auto Light the world's largest independent manufacturer of automotive 19 00:01:03,560 --> 00:01:05,360 electrical equipment. 20 00:01:05,360 --> 00:01:08,800 And it was Auto Light engineering know-how that made possible the development of the 21 00:01:08,800 --> 00:01:13,600 Auto Light Resistor Spark Plug, one of the greatest advances in spark plug design for 22 00:01:13,600 --> 00:01:16,560 automotive use in the past 20 years. 23 00:01:16,560 --> 00:01:20,160 So friends, see your friendly Auto Light spark plug dealer tomorrow. 24 00:01:20,160 --> 00:01:24,880 Have him replace worn out spark plugs with world famous ignition engineered Auto Light 25 00:01:24,880 --> 00:01:25,880 spark plugs. 26 00:01:25,880 --> 00:01:30,040 Whether you choose the resistor type or the regular type, you'll be right because you're 27 00:01:30,040 --> 00:01:32,680 always right with Auto Light. 28 00:01:32,680 --> 00:01:38,720 And now with the man in the room and the performance of John Lund, Auto Light hopes once again 29 00:01:38,720 --> 00:01:42,520 to keep you in suspense. 30 00:01:42,520 --> 00:01:52,320 When I was 10, I first read Edgar Allan Poe's story of the miraculous room, the room whose 31 00:01:52,320 --> 00:01:56,840 terrible walls closed slowly in upon their prisoner. 32 00:01:56,840 --> 00:01:59,400 Made a deep impression upon me. 33 00:01:59,400 --> 00:02:04,200 My most persistent nightmare was that I was the poor devil in the story. 34 00:02:04,200 --> 00:02:10,680 I didn't know then that he had been impressed by it too, and that someday I would actually 35 00:02:10,680 --> 00:02:14,600 be the man in the room. 36 00:02:14,600 --> 00:02:21,480 Excuse me, can you tell me what floor Miss Markham is on? 37 00:02:21,480 --> 00:02:24,920 Miss Markham, what do you want with her? 38 00:02:24,920 --> 00:02:27,520 Why, I want her to do some work for me. 39 00:02:27,520 --> 00:02:29,520 She does typing, doesn't she? 40 00:02:29,520 --> 00:02:32,240 Third floor, step in. 41 00:02:32,240 --> 00:02:33,240 Thank you. 42 00:02:33,240 --> 00:02:36,240 You're a writer? 43 00:02:36,240 --> 00:02:37,240 Yes. 44 00:02:37,240 --> 00:02:40,920 What do you write? 45 00:02:40,920 --> 00:02:43,920 Stories, mostly. 46 00:02:43,920 --> 00:02:45,400 Some? 47 00:02:45,400 --> 00:02:46,840 Occasionally. 48 00:02:46,840 --> 00:02:57,480 She's down at the end of the hall, before you see the door open. 49 00:02:57,480 --> 00:02:58,480 Thank you very much. 50 00:02:58,480 --> 00:03:10,440 Oh, come in, please. 51 00:03:10,440 --> 00:03:11,440 Thank you. 52 00:03:11,440 --> 00:03:12,440 Miss Markham? 53 00:03:12,440 --> 00:03:13,440 That's right. 54 00:03:13,440 --> 00:03:14,440 What can I do for you? 55 00:03:14,440 --> 00:03:15,640 I saw your ad in the paper. 56 00:03:15,640 --> 00:03:17,520 I thought perhaps you could do some work for me. 57 00:03:17,520 --> 00:03:19,520 Oh, yes, yes, of course. 58 00:03:19,520 --> 00:03:20,520 What is it? 59 00:03:20,520 --> 00:03:21,520 Typing, mimeography? 60 00:03:21,520 --> 00:03:22,520 Typing, manuscript. 61 00:03:22,520 --> 00:03:23,520 You're a writer? 62 00:03:23,520 --> 00:03:24,520 Yes. 63 00:03:24,520 --> 00:03:25,520 Oh. 64 00:03:25,520 --> 00:03:26,520 Would you shut the door, please? 65 00:03:26,520 --> 00:03:27,520 Oh, yes, yes, of course. 66 00:03:27,520 --> 00:03:28,520 Thanks. 67 00:03:28,520 --> 00:03:34,840 You find that I do absolutely perfect work, and at the most reasonable rates. 68 00:03:34,840 --> 00:03:38,200 I've had many years of experience, although not in this city. 69 00:03:38,200 --> 00:03:39,960 I just recently moved here. 70 00:03:39,960 --> 00:03:42,000 Will you have much for me to do? 71 00:03:42,000 --> 00:03:44,000 Well, that depends. 72 00:03:44,000 --> 00:03:47,400 Frankly, Miss Markham, the price is a factor with me. 73 00:03:47,400 --> 00:03:51,800 You see, I'm a freelance writer, and at best, that's a precarious occupation. 74 00:03:51,800 --> 00:03:52,800 I see. 75 00:03:52,800 --> 00:03:55,800 Well, is 30 cents a page too much? 76 00:03:55,800 --> 00:03:56,800 Why? 77 00:03:56,800 --> 00:04:00,560 I was about to say that 30 seems extremely reasonable. 78 00:04:00,560 --> 00:04:03,480 Well, I've already said 25, so we'll leave it at that. 79 00:04:03,480 --> 00:04:04,480 You're very kind. 80 00:04:04,480 --> 00:04:05,480 Not at all. 81 00:04:05,480 --> 00:04:06,480 Excuse me, please. 82 00:04:06,480 --> 00:04:11,480 Was... was that the elevator man running down the hall? 83 00:04:11,480 --> 00:04:14,480 Well, no, I didn't see anyone. 84 00:04:14,480 --> 00:04:17,480 It's been a lovely day, hasn't it? 85 00:04:17,480 --> 00:04:18,480 Yes. 86 00:04:18,480 --> 00:04:19,480 Yes, it has. 87 00:04:19,480 --> 00:04:25,480 I think the weather is so perfect here. 88 00:04:25,480 --> 00:04:27,240 I know I'm going to love this city. 89 00:04:27,240 --> 00:04:33,280 It's so difficult coming to a new place and trying to establish oneself, especially so 90 00:04:33,280 --> 00:04:34,280 late in life. 91 00:04:34,280 --> 00:04:37,160 But I think things are going to work out fine. 92 00:04:37,160 --> 00:04:38,160 I hope so. 93 00:04:38,160 --> 00:04:40,160 Would you like to leave your manuscript now? 94 00:04:40,160 --> 00:04:41,160 Yes, here it is. 95 00:04:41,160 --> 00:04:42,160 Oh, thank you. 96 00:04:42,160 --> 00:04:43,160 Yes, 40 pages. 97 00:04:43,160 --> 00:04:47,840 I'll have that ready for you day after tomorrow. 98 00:04:47,840 --> 00:04:49,120 Oh, that'll be fine. 99 00:04:49,120 --> 00:04:52,120 I'll come back and pick it up then. 100 00:04:52,120 --> 00:04:56,720 I left the office and rang for the elevator. 101 00:04:56,720 --> 00:05:00,680 The old man who ran it didn't speak to me on the way down, but I stood in the back of 102 00:05:00,680 --> 00:05:02,680 the car and looked him over carefully. 103 00:05:02,680 --> 00:05:11,080 He was a funny little old duck, almost dwarf-sized, with shoulders so rounded he was nearly humpbacked. 104 00:05:11,080 --> 00:05:15,800 I was sure he was the one who had been listening at the door upstairs. 105 00:05:15,800 --> 00:05:20,040 But after all, it was none of my affair. 106 00:05:20,040 --> 00:05:23,680 Two days later, I returned to the old office building to pick up my manuscript. 107 00:05:23,680 --> 00:05:27,640 You come to pick up your typing? 108 00:05:27,640 --> 00:05:28,640 Yes. 109 00:05:28,640 --> 00:05:29,640 Here it is. 110 00:05:29,640 --> 00:05:32,640 She left it for you. 111 00:05:32,640 --> 00:05:35,640 Oh, well, I've got to go up anyway. 112 00:05:35,640 --> 00:05:37,240 I have some more work for Miss Markham. 113 00:05:37,240 --> 00:05:38,240 I'll take it. 114 00:05:38,240 --> 00:05:39,240 She don't want to be disturbed. 115 00:05:39,240 --> 00:05:40,240 Well, I... 116 00:05:40,240 --> 00:05:41,240 Just give it here. 117 00:05:41,240 --> 00:05:42,240 All right. 118 00:05:42,240 --> 00:05:50,000 I gave him the manuscript and left. 119 00:05:50,000 --> 00:05:54,760 Two days later, when I returned, he had the completed work ready for me down on the first 120 00:05:54,760 --> 00:05:55,760 floor. 121 00:05:55,760 --> 00:06:00,640 That's the way it went on on the other occasions when I had typing for Miss Markham to do. 122 00:06:00,640 --> 00:06:04,880 The old man took it from me downstairs and had it ready for me when I returned. 123 00:06:04,880 --> 00:06:09,040 There was always a reason for me not to go upstairs. 124 00:06:09,040 --> 00:06:15,040 Miss Markham was working, didn't want to be disturbed, or she just left for lunch, or 125 00:06:15,040 --> 00:06:19,160 she wasn't down that day because of illness. 126 00:06:19,160 --> 00:06:24,800 One day when I came to pick up some material, the elevator was not down on the first floor, 127 00:06:24,800 --> 00:06:27,320 and my curiosity got the better of me. 128 00:06:27,320 --> 00:06:32,040 Instead of ringing, I took the stairs and walked up to the third floor. 129 00:06:32,040 --> 00:06:38,920 Oh, it's you. 130 00:06:38,920 --> 00:06:39,920 Where's Miss Markham? 131 00:06:39,920 --> 00:06:40,920 She ain't here. 132 00:06:40,920 --> 00:06:42,920 You can see she ain't. 133 00:06:42,920 --> 00:06:43,920 Yes. 134 00:06:43,920 --> 00:06:44,920 Are you typing? 135 00:06:44,920 --> 00:06:45,920 Sure. 136 00:06:45,920 --> 00:06:46,920 I help her out sometimes. 137 00:06:46,920 --> 00:06:49,360 She's sick today. 138 00:06:49,360 --> 00:06:52,360 Oh, I see. 139 00:06:52,360 --> 00:06:55,160 I just finished your story. 140 00:06:55,160 --> 00:06:58,400 That's fine. 141 00:06:58,400 --> 00:06:59,880 It won't sell, though. 142 00:06:59,880 --> 00:07:00,880 What? 143 00:07:00,880 --> 00:07:02,360 I say it won't sell. 144 00:07:02,360 --> 00:07:03,360 It's clumsy. 145 00:07:03,360 --> 00:07:05,360 Oh, you think so? 146 00:07:05,360 --> 00:07:06,360 Yes. 147 00:07:06,360 --> 00:07:08,080 It's all hard, Pudge. 148 00:07:08,080 --> 00:07:09,080 You write too fast. 149 00:07:09,080 --> 00:07:15,040 Well, I'm sorry you don't like it, but if you'll just put it together, I'll send it off anyway. 150 00:07:15,040 --> 00:07:16,400 All right. 151 00:07:16,400 --> 00:07:22,120 But it won't sell. 152 00:07:22,120 --> 00:07:26,560 That night at home, I'd been working for hours on a plot for a mystery story. 153 00:07:26,560 --> 00:07:28,600 I was having absolutely no luck. 154 00:07:28,600 --> 00:07:30,600 I simply couldn't concentrate. 155 00:07:30,600 --> 00:07:33,760 Then I had a thought. 156 00:07:33,760 --> 00:07:38,440 How would it be to use Miss Markham and the elevator man as the basis for a story? 157 00:07:38,440 --> 00:07:43,040 Just take the situation as it stood now and fabricate the rest of the plot from there. 158 00:07:43,040 --> 00:07:44,880 Let's see. 159 00:07:44,880 --> 00:07:48,120 The old man could have murdered her and hidden the body. 160 00:07:48,120 --> 00:07:50,960 Possibly he'd done it immediately after I'd seen her last, and she'd been dead all this 161 00:07:50,960 --> 00:07:51,960 time. 162 00:07:51,960 --> 00:07:55,200 I even made up a fine name for the elevator man. 163 00:07:55,200 --> 00:07:56,200 I called him Graklin. 164 00:07:56,200 --> 00:08:02,680 But for the life of me, I couldn't build a story. 165 00:08:02,680 --> 00:08:03,680 Why had he killed her? 166 00:08:03,680 --> 00:08:06,680 What had he done with the body? 167 00:08:06,680 --> 00:08:08,680 The plot wouldn't move. 168 00:08:08,680 --> 00:08:12,520 And yet somehow I couldn't discard it and try another. 169 00:08:12,520 --> 00:08:16,160 I knew that I was stuck with it until I worked it out. 170 00:08:16,160 --> 00:08:19,600 Well, how about the reality? 171 00:08:19,600 --> 00:08:21,640 What had happened to Miss Markham? 172 00:08:21,640 --> 00:08:23,640 Why hadn't I seen her for over two weeks? 173 00:08:23,640 --> 00:08:28,280 The only thing to do, I decided, was to find out more about the real situation. 174 00:08:28,280 --> 00:08:31,520 Perhaps I could evolve something from that. 175 00:08:31,520 --> 00:08:32,520 Hello? 176 00:08:32,520 --> 00:08:33,520 Hello, George? 177 00:08:33,520 --> 00:08:34,520 Bird. 178 00:08:34,520 --> 00:08:37,520 Oh, how are you, birdy old boy? 179 00:08:37,520 --> 00:08:38,520 Fine. 180 00:08:38,520 --> 00:08:39,520 Listen, George. 181 00:08:39,520 --> 00:08:43,520 Who does your typing? 182 00:08:43,520 --> 00:08:44,520 My typing? 183 00:08:44,520 --> 00:08:45,520 Why, Harrison Lewis? 184 00:08:45,520 --> 00:08:46,520 Oh, yes. 185 00:08:46,520 --> 00:08:47,520 At 50 cents a page. 186 00:08:47,520 --> 00:08:48,520 I forgot you were rich. 187 00:08:48,520 --> 00:08:49,520 Why? 188 00:08:49,520 --> 00:08:52,520 Well, I thought perhaps you'd seen the same ad in the paper that I did. 189 00:08:52,520 --> 00:08:53,520 A Miss Markham. 190 00:08:53,520 --> 00:08:54,520 She's been doing some work for me. 191 00:08:54,520 --> 00:08:55,520 Markham? 192 00:08:55,520 --> 00:08:56,520 No, I didn't see it. 193 00:08:56,520 --> 00:08:57,520 Why? 194 00:08:57,520 --> 00:08:58,520 Is she any good? 195 00:08:58,520 --> 00:08:59,520 Oh, yes. 196 00:08:59,520 --> 00:09:00,520 She's very good. 197 00:09:00,520 --> 00:09:01,520 Well, what does she charge? 198 00:09:01,520 --> 00:09:02,520 30 cents a page. 199 00:09:02,520 --> 00:09:03,520 Hey, that is cheap. 200 00:09:03,520 --> 00:09:04,520 I'm not sure I'm going to be able to afford it. 201 00:09:04,520 --> 00:09:05,520 I'm not sure I'm going to be able to afford it. 202 00:09:05,520 --> 00:09:06,520 I'm not sure I'm going to be able to afford it. 203 00:09:06,520 --> 00:09:07,520 I'm not sure I'm going to be able to afford it. 204 00:09:07,520 --> 00:09:09,520 I'm not sure I'm going to be able to afford it. 205 00:09:09,520 --> 00:09:10,520 Maybe I'll switch. 206 00:09:10,520 --> 00:09:11,520 Where's she located? 207 00:09:11,520 --> 00:09:12,520 202 West Olive. 208 00:09:12,520 --> 00:09:15,960 Why don't you go up and see her anyway? 209 00:09:15,960 --> 00:09:16,960 Let me know what she says. 210 00:09:16,960 --> 00:09:17,960 All right. 211 00:09:17,960 --> 00:09:18,960 I'll go in the morning. 212 00:09:18,960 --> 00:09:19,960 Fine. 213 00:09:19,960 --> 00:09:20,960 Goodbye, George. 214 00:09:20,960 --> 00:09:26,520 The next morning I called information and got Miss Markham's office number. 215 00:09:26,520 --> 00:09:29,360 It was not yet listed in the directory. 216 00:09:29,360 --> 00:09:33,520 I called the number, somehow knowing there would be no answer. 217 00:09:33,520 --> 00:09:34,520 Hello? 218 00:09:34,520 --> 00:09:37,520 Oh, hello. 219 00:09:37,520 --> 00:09:39,520 Miss Markham? 220 00:09:39,520 --> 00:09:40,520 Yes? 221 00:09:40,520 --> 00:09:43,520 Well, this is Mr. Freeland. 222 00:09:43,520 --> 00:09:45,520 I heard you were ill yesterday. 223 00:09:45,520 --> 00:09:48,520 Just thought I'd call and see how you were. 224 00:09:48,520 --> 00:09:49,520 That's very nice of you. 225 00:09:49,520 --> 00:09:50,520 Thank you very much. 226 00:09:50,520 --> 00:09:52,520 I'm feeling much better today. 227 00:09:52,520 --> 00:09:54,520 Oh, I'm glad. 228 00:09:54,520 --> 00:09:57,520 I expect to have some more work for you at the end of the week. 229 00:09:57,520 --> 00:09:58,520 All right. 230 00:09:58,520 --> 00:09:59,520 Just bring it in. 231 00:09:59,520 --> 00:10:00,520 I will. 232 00:10:00,520 --> 00:10:03,520 And oh, yes, Miss Markham, I haven't received a bill from you yet. 233 00:10:03,520 --> 00:10:04,520 Would you send one soon? 234 00:10:04,520 --> 00:10:05,520 Yes, I will. 235 00:10:05,520 --> 00:10:06,520 Thank you. 236 00:10:06,520 --> 00:10:07,520 Goodbye, Miss Markham. 237 00:10:07,520 --> 00:10:08,520 Goodbye. 238 00:10:08,520 --> 00:10:18,520 I hung up thinking, well, there goes my plot into a cocked hat. 239 00:10:18,520 --> 00:10:23,520 I realized then that I had begun to believe something had happened to Miss Markham. 240 00:10:23,520 --> 00:10:25,520 Talked myself into it, I guess. 241 00:10:25,520 --> 00:10:27,520 Confused the fiction with the reality. 242 00:10:27,520 --> 00:10:32,520 But just because she was alive and well, that was no reason why I couldn't still build a 243 00:10:32,520 --> 00:10:34,520 good story from the same idea. 244 00:10:34,520 --> 00:10:36,520 Now, let's see. 245 00:10:36,520 --> 00:10:39,520 Graclyn had killed Miss Markham and hidden the body. 246 00:10:39,520 --> 00:10:41,520 But when I called up, she answered. 247 00:10:41,520 --> 00:10:43,520 No, I couldn't use that. 248 00:10:43,520 --> 00:10:44,520 But wait a minute. 249 00:10:44,520 --> 00:10:45,520 Why couldn't I? 250 00:10:45,520 --> 00:10:47,520 Why, certainly, there was a twist. 251 00:10:47,520 --> 00:10:52,520 Sure, Graclyn gets another woman to impersonate Miss Markham. 252 00:10:52,520 --> 00:10:56,520 The only ones he'd have to worry about would be the people who had seen the first Miss Markham. 253 00:10:56,520 --> 00:10:58,520 Well, that's the way my story would go anyway. 254 00:10:58,520 --> 00:11:02,520 I sat down with my typewriter and made it sing for a couple of hours. 255 00:11:02,520 --> 00:11:04,520 The story was coming along fine. 256 00:11:04,520 --> 00:11:07,520 The only thing I needed was some background on Graclyn. 257 00:11:07,520 --> 00:11:09,520 Well, nothing like the source. 258 00:11:09,520 --> 00:11:14,520 At about 4.30 that afternoon, I was down on West Olive Street near the 202 building. 259 00:11:14,520 --> 00:11:19,520 At about 5, Graclyn came out and started up the street. 260 00:11:19,520 --> 00:11:23,520 He got on a bus, so I looked around for a cab. 261 00:11:23,520 --> 00:11:25,520 Scabby, you taking? 262 00:11:25,520 --> 00:11:26,520 Nah, hop in. 263 00:11:26,520 --> 00:11:27,520 Good. 264 00:11:27,520 --> 00:11:30,520 Listen, follow that bus, but not too close. 265 00:11:30,520 --> 00:11:31,520 I'll tell you when to stop. 266 00:11:31,520 --> 00:11:32,520 Okay. 267 00:11:34,520 --> 00:11:37,520 He stayed on that bus all the way to the end of the line. 268 00:11:37,520 --> 00:11:42,520 I got out of the cab about a block before the final bus stop and saw the old man get off. 269 00:11:42,520 --> 00:11:44,520 It was almost prairie here. 270 00:11:44,520 --> 00:11:48,520 Large vacant lots and only a few scattered houses. 271 00:11:48,520 --> 00:11:50,520 He entered one of them. 272 00:11:50,520 --> 00:11:55,520 After about 20 minutes, when it was getting dark, I walked slowly up to the place. 273 00:11:55,520 --> 00:12:01,520 There was a light around him back, and I went quietly along the side of the house to the window. 274 00:12:01,520 --> 00:12:03,520 I looked in. 275 00:12:03,520 --> 00:12:09,520 There sat Graclyn bent over a table, writing with a quill pen. 276 00:12:09,520 --> 00:12:12,520 But it was the room that surprised me. 277 00:12:12,520 --> 00:12:19,520 The walls were filled from floor to ceiling with books, heavy scholarly books. 278 00:12:19,520 --> 00:12:22,520 And then I saw it. 279 00:12:22,520 --> 00:12:27,520 And a smaller table against the wall stood her picture. 280 00:12:27,520 --> 00:12:33,520 She was younger in the photo and prettier, but it was unmistakably she. 281 00:12:33,520 --> 00:12:35,520 Miss Markham. 282 00:12:35,520 --> 00:12:58,520 Auto Light is bringing you Mr. John Lund in The Man in the Room, tonight's production in radio's outstanding theater of thrills, Suspense. 283 00:12:58,520 --> 00:13:08,520 Hello, do ichthyologists and zoologists have anything in common? 284 00:13:08,520 --> 00:13:12,520 Well, in a way, half. You see, any kind of anologist is an expert in his field. 285 00:13:12,520 --> 00:13:16,520 Well, I guess that makes you a spark-plugologist, hey, Wilcox. 286 00:13:16,520 --> 00:13:19,520 Well, not exactly. I'm more of a gabologist. 287 00:13:19,520 --> 00:13:22,520 The real experts are the auto light ignition engineers. 288 00:13:22,520 --> 00:13:29,520 They design and build complete ignition systems for use as original equipment on many makes of America's finest cars. 289 00:13:29,520 --> 00:13:34,520 So naturally, they've built spark plugs that will work as a team with the ignition systems. 290 00:13:34,520 --> 00:13:39,520 Spark plugs that are un-excelled for quick starting, smooth performance, and gas mileage. 291 00:13:39,520 --> 00:13:40,520 Sounds logical. 292 00:13:40,520 --> 00:13:45,520 Of course. And these same auto light engineers developed the famous auto light resistor spark plug. 293 00:13:45,520 --> 00:13:50,520 One of the greatest advances in spark plug design for automotive use in the past 20 years. 294 00:13:50,520 --> 00:13:52,520 They're experts, all right, Harlow. 295 00:13:52,520 --> 00:13:55,520 So friends, see your friendly auto light spark plug dealer tomorrow. 296 00:13:55,520 --> 00:14:00,520 Have him replace worn out spark plugs with ignition engineered auto light spark plugs. 297 00:14:00,520 --> 00:14:10,520 Whether you choose the resistor type or the regular type, you can't buy a better spark plug for your car because you're always right with auto light. 298 00:14:10,520 --> 00:14:19,520 And now auto light brings back to our Hollywood sound stage our star, John Lund, in The Man in the Room. 299 00:14:19,520 --> 00:14:24,520 A tale well calculated to keep you in suspense. 300 00:14:27,520 --> 00:14:29,520 In the next morning's mail was her bill. 301 00:14:29,520 --> 00:14:33,520 But there was a mistake. She charged me 40 cents a page. 302 00:14:33,520 --> 00:14:37,520 So I put on my coat and started downtown. 303 00:14:37,520 --> 00:14:41,520 As I walked up Olive Street, I wondered if Drackman would let me up to see Miss Markham. 304 00:14:41,520 --> 00:14:49,520 If it were in my story, he couldn't because I'd immediately recognize her as another woman. 305 00:14:49,520 --> 00:14:50,520 Three, please. 306 00:14:50,520 --> 00:14:51,520 I'll just step. 307 00:14:51,520 --> 00:14:53,520 Miss Markham is in today? 308 00:14:53,520 --> 00:14:56,520 Yep. 309 00:14:56,520 --> 00:15:01,520 You know, I haven't seen her for some time. She's always been out or sick or something. 310 00:15:01,520 --> 00:15:02,520 That's so. 311 00:15:02,520 --> 00:15:04,520 Certainly it's so. You were the one who kept telling me. 312 00:15:04,520 --> 00:15:08,520 Oh, well, I can't remember everybody who comes in here. 313 00:15:08,520 --> 00:15:12,520 Oh, I shouldn't think it would be too hard. I'll bet not over 10 people a day come in here. 314 00:15:12,520 --> 00:15:15,520 This is the most deserted office building I've ever seen. 315 00:15:15,520 --> 00:15:19,520 Well, sometimes it is a little quiet. 316 00:15:22,520 --> 00:15:23,520 You know where it is? 317 00:15:23,520 --> 00:15:24,520 Yes. 318 00:15:30,520 --> 00:15:31,520 Come in. 319 00:15:33,520 --> 00:15:34,520 Miss Markham. 320 00:15:34,520 --> 00:15:38,520 Oh, you are Miss Markham. 321 00:15:38,520 --> 00:15:40,520 Yes, of course. Why? 322 00:15:40,520 --> 00:15:44,520 Oh, no reason. I'm a little confused. 323 00:15:44,520 --> 00:15:46,520 Been writing too much lately, I guess. 324 00:15:46,520 --> 00:15:47,520 Oh. 325 00:15:47,520 --> 00:15:51,520 Well, the reason I came down is because of your bill. 326 00:15:51,520 --> 00:15:52,520 There's a mistake? 327 00:15:52,520 --> 00:15:55,520 Don't you remember? You said you were going to charge me 25 cents a page. 328 00:15:55,520 --> 00:15:57,520 But your bill says 40. 329 00:15:57,520 --> 00:16:01,520 Oh, oh yes, I do remember now. That's right, 25. 330 00:16:01,520 --> 00:16:04,520 The error is mine. I'll change it. I'm terribly sorry. 331 00:16:04,520 --> 00:16:06,520 Oh, that's all right. I wasn't worried about it. 332 00:16:06,520 --> 00:16:09,520 If you'd like to re-figure it, I can leave you a check right now. 333 00:16:09,520 --> 00:16:13,520 Do you possibly have the cash? 334 00:16:13,520 --> 00:16:20,520 Well, let's see. Yes, yes, I think I do. Would you prefer that? 335 00:16:20,520 --> 00:16:21,520 If you don't mind. 336 00:16:26,520 --> 00:16:30,520 I paid the bill and went home. Back to my story. 337 00:16:30,520 --> 00:16:34,520 My story that had turned out to be pure fiction after all. 338 00:16:34,520 --> 00:16:38,520 Miss Markham was alive and well and back in her office, 339 00:16:38,520 --> 00:16:41,520 looking just as she had the first time I saw her. 340 00:16:41,520 --> 00:16:44,520 Well, I had used all of the real situation I could, 341 00:16:44,520 --> 00:16:47,520 and from now on I was operating on pure imagination. 342 00:16:47,520 --> 00:16:49,520 Let's see. 343 00:16:49,520 --> 00:16:52,520 Hey, wait a minute. 344 00:16:52,520 --> 00:16:55,520 Just because she looks the same doesn't mean she's the same woman. 345 00:16:55,520 --> 00:16:57,520 She was a twin, see? 346 00:16:57,520 --> 00:17:02,520 The first Miss Markham's twin sister, and Gretlin was their brother. 347 00:17:02,520 --> 00:17:04,520 Why had he killed the first Miss Markham? 348 00:17:04,520 --> 00:17:08,520 Well, for money, her life savings. That was always a good motive. 349 00:17:08,520 --> 00:17:10,520 And the twin sister was in on it and would split with him. 350 00:17:10,520 --> 00:17:15,520 Fine. I rattled off the story and the next morning brought it in to be typed. 351 00:17:15,520 --> 00:17:16,520 Good morning, Mr. Freeland. 352 00:17:16,520 --> 00:17:19,520 Good morning, Miss Markham. Got another story for you. 353 00:17:19,520 --> 00:17:22,520 Oh? Well, I'm not sure that I can start on anything right now. 354 00:17:22,520 --> 00:17:24,520 I'm closing up the office, you know. 355 00:17:24,520 --> 00:17:25,520 Oh? 356 00:17:25,520 --> 00:17:27,520 Yes, this climate doesn't agree with me at all. 357 00:17:27,520 --> 00:17:30,520 As a matter of fact, I never did like city life. 358 00:17:30,520 --> 00:17:32,520 You've evidently changed your mind about things. 359 00:17:32,520 --> 00:17:34,520 I beg your pardon? 360 00:17:34,520 --> 00:17:36,520 Remember the first day you came up here? 361 00:17:36,520 --> 00:17:39,520 You were telling me how well you liked our city and the weather? 362 00:17:39,520 --> 00:17:43,520 Oh, yes. Well, you can always depend on a woman, can't you? 363 00:17:43,520 --> 00:17:45,520 Yeah, I guess so. 364 00:17:45,520 --> 00:17:49,520 I really wish you could finish this story for me. It's not very long. 365 00:17:49,520 --> 00:17:50,520 Oh? 366 00:17:50,520 --> 00:17:51,520 Only about 28 pages. 367 00:17:51,520 --> 00:17:54,520 I see. Well, perhaps I can rush it out. 368 00:17:54,520 --> 00:17:57,520 I sort of feel that I owe you something anyway. 369 00:17:57,520 --> 00:17:58,520 Why? 370 00:17:58,520 --> 00:18:01,520 For being so nice about that mistake I made on your bill. 371 00:18:01,520 --> 00:18:02,520 Oh, that was nothing. 372 00:18:02,520 --> 00:18:05,520 Well, leave the manuscript here and I'll try to have it done by tomorrow afternoon. 373 00:18:05,520 --> 00:18:08,520 Tomorrow is my last day. Come in about two o'clock. 374 00:18:08,520 --> 00:18:10,520 Right. And thanks a lot, Miss Markham. 375 00:18:14,520 --> 00:18:16,520 The next day was Saturday. 376 00:18:16,520 --> 00:18:19,520 And if the building had seemed deserted on other days, 377 00:18:19,520 --> 00:18:23,520 it had really been a beehive compared to two o'clock on Saturday afternoon. 378 00:18:23,520 --> 00:18:25,520 Now it was a morgue. 379 00:18:25,520 --> 00:18:29,520 When I entered Miss Markham's office, she was standing there holding a sheaf of papers. 380 00:18:29,520 --> 00:18:34,520 Mr. Freeland, where did you ever get the idea for that story? 381 00:18:34,520 --> 00:18:39,520 Oh, well, I hope it didn't disturb you, but I was desperate for a plot 382 00:18:39,520 --> 00:18:42,520 and I guess I just let my imagination run wild. 383 00:18:42,520 --> 00:18:45,520 I see. Well, I'll just put it in an envelope. 384 00:18:45,520 --> 00:18:49,520 Thank you. And I'll pay you now because I probably won't see you again. 385 00:18:49,520 --> 00:18:52,520 That's right. You probably won't. 386 00:18:52,520 --> 00:18:55,520 Well, I guess I'll just say goodbye. 387 00:18:55,520 --> 00:18:57,520 Goodbye, Miss Markham, and good luck. 388 00:18:57,520 --> 00:19:00,520 Thank you. And the same to you. 389 00:19:04,520 --> 00:19:07,520 Garacln was waiting for me there on the third floor. 390 00:19:07,520 --> 00:19:10,520 He had probably just stayed there while I was in the office. 391 00:19:10,520 --> 00:19:13,520 I got in the elevator and he closed the door. 392 00:19:14,520 --> 00:19:17,520 Get your story, Mr. Freeland? 393 00:19:17,520 --> 00:19:19,520 Huh? Oh, yes. Yes, I did. 394 00:19:19,520 --> 00:19:23,520 Hmm. Not a bad story. Miss Markham let me read it. 395 00:19:23,520 --> 00:19:25,520 Oh? 396 00:19:26,520 --> 00:19:28,520 But it needs rewriting. 397 00:19:28,520 --> 00:19:29,520 Oh, is that so? 398 00:19:29,520 --> 00:19:33,520 Yes. Like I told you before, Mr. Freeland, you write too fast. 399 00:19:33,520 --> 00:19:36,520 You aren't careful enough with reality. 400 00:19:36,520 --> 00:19:38,520 I'm afraid I don't understand. 401 00:19:38,520 --> 00:19:42,520 Well, now that part about hiding the body in the elevator shaft, for instance, 402 00:19:42,520 --> 00:19:45,520 you almost had a good thing there, 403 00:19:45,520 --> 00:19:49,520 but I could tell you've never been in an elevator shaft, have you? 404 00:19:49,520 --> 00:19:53,520 I know. You've passed the first floor. 405 00:19:53,520 --> 00:19:56,520 Let's go down a bit. I'd like to show you something. 406 00:19:58,520 --> 00:20:00,520 This is the basement. 407 00:20:00,520 --> 00:20:02,520 Yes. Yes, I see. 408 00:20:02,520 --> 00:20:05,520 You notice how the air gets closer as you go down? 409 00:20:05,520 --> 00:20:09,520 It's little touches like that that make a story real. 410 00:20:09,520 --> 00:20:11,520 Ah. 411 00:20:11,520 --> 00:20:14,520 Sub-basement. 412 00:20:17,520 --> 00:20:21,520 Mr. Freeland, would you like to see what an elevator shaft looks like? 413 00:20:21,520 --> 00:20:22,520 Well, I... 414 00:20:22,520 --> 00:20:24,520 Come on. It's very interesting. 415 00:20:24,520 --> 00:20:26,520 Especially for a writer. 416 00:20:26,520 --> 00:20:27,520 All right. 417 00:20:27,520 --> 00:20:29,520 Fine. Follow me. 418 00:20:30,520 --> 00:20:33,520 Now, we'll just go down these stairs on your left. 419 00:20:33,520 --> 00:20:36,520 There's only a few of them, but they're kind of dark. Be careful. 420 00:20:36,520 --> 00:20:38,520 I will. 421 00:20:38,520 --> 00:20:41,520 I wouldn't want you to fall. 422 00:20:44,520 --> 00:20:48,520 Now, we go through this little steel door. 423 00:20:51,520 --> 00:20:54,520 After you, Mr. Freeland. 424 00:20:54,520 --> 00:20:56,520 Thank you. 425 00:20:59,520 --> 00:21:03,520 You see, this is what the bottom of an elevator shaft looks like. 426 00:21:03,520 --> 00:21:07,520 Yes, yes, it... it is interesting. 427 00:21:07,520 --> 00:21:11,520 You could make all kinds of noise down here and no one would know. 428 00:21:11,520 --> 00:21:13,520 Well... 429 00:21:13,520 --> 00:21:16,520 Now, about your story. 430 00:21:16,520 --> 00:21:21,520 You had me, I mean, Gretlin, bury the woman in the floor of the shaft. 431 00:21:21,520 --> 00:21:23,520 Now, that would never do. 432 00:21:23,520 --> 00:21:24,520 No? 433 00:21:24,520 --> 00:21:29,520 No. If you dug a grave down here, the inspector would find it in a minute. 434 00:21:29,520 --> 00:21:30,520 Oh. 435 00:21:30,520 --> 00:21:33,520 Ah, yes. The inspector's very sharp. 436 00:21:33,520 --> 00:21:35,520 Very sharp. 437 00:21:35,520 --> 00:21:37,520 But in the wall. 438 00:21:37,520 --> 00:21:38,520 The wall? 439 00:21:38,520 --> 00:21:41,520 Yes. See those bricks? 440 00:21:41,520 --> 00:21:45,520 Now, if I go to exactly the right place... 441 00:21:45,520 --> 00:21:49,520 Look, I can pull several of them right out. 442 00:21:49,520 --> 00:21:53,520 And after I've got all the loose ones out, 443 00:21:53,520 --> 00:21:57,520 there's a regular cavity been dug out behind them. 444 00:21:58,520 --> 00:22:01,520 Come here. Look for yourself. 445 00:22:01,520 --> 00:22:02,520 Ah. 446 00:22:02,520 --> 00:22:03,520 Miss Markham! 447 00:22:03,520 --> 00:22:05,520 Yes. See how snugly she fits in there? 448 00:22:05,520 --> 00:22:08,520 I spent a long time digging that hole. 449 00:22:08,520 --> 00:22:10,520 She's dead. You... you killed her. 450 00:22:10,520 --> 00:22:12,520 Yes. Didn't you really know? 451 00:22:12,520 --> 00:22:15,520 I... I just put these bricks back now. 452 00:22:19,520 --> 00:22:21,520 You had some of the things quite right. 453 00:22:21,520 --> 00:22:24,520 The woman upstairs is merely her twin sister. 454 00:22:24,520 --> 00:22:26,520 This one's name is Dorothy. 455 00:22:26,520 --> 00:22:28,520 I married Dorothy, but I should have married Millie. 456 00:22:28,520 --> 00:22:31,520 You see, Mr. Freeland, I am a writer too. 457 00:22:31,520 --> 00:22:33,520 More than a writer, a poet. 458 00:22:33,520 --> 00:22:37,520 But I didn't sell anything, and Dorothy lost faith in me. 459 00:22:37,520 --> 00:22:39,520 She typed stories for hacks like yourself. 460 00:22:39,520 --> 00:22:42,520 While I had to turn the running an elevator, 461 00:22:42,520 --> 00:22:44,520 she caused me to lose faith in myself. 462 00:22:44,520 --> 00:22:47,520 Finally, Dorothy left me and came here. 463 00:22:47,520 --> 00:22:50,520 I followed her and got a job in the same building. 464 00:22:50,520 --> 00:22:52,520 At last, I did what I'd wanted to do for years. 465 00:22:52,520 --> 00:22:55,520 I killed her when I told Millie she said I'd done quite right, 466 00:22:55,520 --> 00:22:57,520 and she came here to help me. 467 00:22:57,520 --> 00:22:59,520 You're insane. 468 00:22:59,520 --> 00:23:01,520 No, Mr. Freeland, I am a poet. 469 00:23:01,520 --> 00:23:03,520 I'm getting out of here. 470 00:23:03,520 --> 00:23:05,520 No, I don't think you are, Mr. Freeland. 471 00:23:09,520 --> 00:23:12,520 Are you surprised how strong I am? 472 00:23:12,520 --> 00:23:14,520 I've done many things in my time, 473 00:23:14,520 --> 00:23:16,520 even if it waits in a circus. 474 00:23:16,520 --> 00:23:18,520 You... you madman. 475 00:23:18,520 --> 00:23:20,520 Enough. Don't try to get up, Mr. Freeland, 476 00:23:20,520 --> 00:23:22,520 or I'll just have to knock you down again. 477 00:23:22,520 --> 00:23:26,520 You see, I've got something quite interesting in store for you. 478 00:23:26,520 --> 00:23:29,520 You remember Edgar Allan Poe's wonderful story 479 00:23:29,520 --> 00:23:32,520 about the man in the room that got smaller and smaller 480 00:23:32,520 --> 00:23:34,520 until it would crush the life out of him? 481 00:23:34,520 --> 00:23:36,520 What... what are you talking about? 482 00:23:36,520 --> 00:23:39,520 There, Mr. Freeland, I have such a room. 483 00:23:39,520 --> 00:23:41,520 You're in it now. 484 00:23:41,520 --> 00:23:43,520 The walls won't move, but the ceiling will. 485 00:23:43,520 --> 00:23:45,520 Look above you. 486 00:23:45,520 --> 00:23:48,520 Most elevators won't go all the way to the bottom of the shaft, 487 00:23:48,520 --> 00:23:50,520 but this one will. I fixed it. 488 00:23:50,520 --> 00:23:52,520 Get out of my way, you lunatic! 489 00:23:52,520 --> 00:23:56,520 I won, Mr. Freeland! 490 00:23:56,520 --> 00:23:59,520 He hit me a crushing blow when I dropped to the ground, stunned. 491 00:23:59,520 --> 00:24:01,520 And you were wrong on my name. 492 00:24:01,520 --> 00:24:03,520 It's Alan Jones. 493 00:24:03,520 --> 00:24:06,520 Then he jumped out of the door and slammed it shut. 494 00:24:06,520 --> 00:24:08,520 I staggered to it, but there was no knob or latch 495 00:24:08,520 --> 00:24:10,520 of any kind on the inside. 496 00:24:10,520 --> 00:24:12,520 It was smooth and flush with the wall. 497 00:24:12,520 --> 00:24:14,520 I heard his footsteps running up the stairs, 498 00:24:14,520 --> 00:24:16,520 and I heard them above me, in the elevator. 499 00:24:16,520 --> 00:24:20,520 Then came a sound that drove me to panic. 500 00:24:20,520 --> 00:24:22,520 Scragglin, stop! 501 00:24:22,520 --> 00:24:24,520 You'll never get away with two murders! 502 00:24:24,520 --> 00:24:26,520 You'll go to the electric chair! Scragglin! 503 00:24:26,520 --> 00:24:29,520 Listen, listen! I won't tell anybody about Miss Markham. 504 00:24:29,520 --> 00:24:32,520 I'll tell up the story! Scragglin! 505 00:24:32,520 --> 00:24:35,520 I sank to my knees until it came on, 506 00:24:35,520 --> 00:24:37,520 and I fell flat on my face, 507 00:24:37,520 --> 00:24:39,520 and still it came closer and closer, 508 00:24:39,520 --> 00:24:41,520 only inches away now. 509 00:24:41,520 --> 00:24:43,520 Desperately I flung out my arms 510 00:24:43,520 --> 00:24:45,520 to flatten myself close to the ground, 511 00:24:45,520 --> 00:24:47,520 and my hand touched the bricks of the wall, 512 00:24:47,520 --> 00:24:49,520 found one of the loose ones, 513 00:24:49,520 --> 00:24:51,520 and not knowing what I was doing, 514 00:24:51,520 --> 00:24:53,520 I clawed at the loose brick and pulled it out a little. 515 00:24:53,520 --> 00:24:55,520 Then, miraculously... 516 00:24:57,520 --> 00:24:59,520 The elevator hung suspended, 517 00:24:59,520 --> 00:25:01,520 the side of it caught on the brick. 518 00:25:01,520 --> 00:25:04,520 I knew it wouldn't be stopped for long. 519 00:25:04,520 --> 00:25:07,520 Already the side of the elevator was grinding into the brick, 520 00:25:07,520 --> 00:25:09,520 and in a moment it would break it 521 00:25:09,520 --> 00:25:11,520 and come pressing down upon me like an ant. 522 00:25:11,520 --> 00:25:14,520 But then, I heard a new sound. 523 00:25:16,520 --> 00:25:18,520 The elevator stopped crushing into the brick now, 524 00:25:18,520 --> 00:25:20,520 and hung motionless. 525 00:25:20,520 --> 00:25:22,520 He'd definitely shut off the power. 526 00:25:22,520 --> 00:25:24,520 He was trying to make up his mind what to do. 527 00:25:26,520 --> 00:25:29,520 Suddenly, the elevator lifted. 528 00:25:29,520 --> 00:25:32,520 I thought going up and up, away from me. 529 00:25:32,520 --> 00:25:35,520 And then, I don't remember. 530 00:25:35,520 --> 00:25:37,520 I must have fainted. 531 00:25:41,520 --> 00:25:43,520 The next thing I knew, 532 00:25:43,520 --> 00:25:45,520 two policemen were holding me up, 533 00:25:45,520 --> 00:25:48,520 asking me questions. 534 00:25:48,520 --> 00:25:50,520 I told them something of what had happened, 535 00:25:50,520 --> 00:25:53,520 and then I asked them about the elevator man. 536 00:25:53,520 --> 00:25:55,520 Oh, him? We sent him off in the wagon. 537 00:25:55,520 --> 00:25:57,520 It was a funny thing. 538 00:25:57,520 --> 00:25:59,520 You see, there was this guy from some publisher, 539 00:25:59,520 --> 00:26:01,520 I think he was, 540 00:26:01,520 --> 00:26:03,520 came here to tell this elevator guy 541 00:26:03,520 --> 00:26:05,520 that he'd won some big poetry contest. 542 00:26:05,520 --> 00:26:07,520 Well, this fellow from the publisher waited around upstairs 543 00:26:07,520 --> 00:26:09,520 and finally started pressing the buzzer. 544 00:26:09,520 --> 00:26:11,520 When the elevator came up, the old man jumped out 545 00:26:11,520 --> 00:26:13,520 and knocked the publisher guy down, 546 00:26:13,520 --> 00:26:15,520 and he went running out into the street. 547 00:26:15,520 --> 00:26:17,520 That's when we got him. 548 00:26:17,520 --> 00:26:19,520 After we sent him off, we came back to investigate. 549 00:26:19,520 --> 00:26:21,520 And we found you. 550 00:26:21,520 --> 00:26:23,520 Really? 551 00:26:23,520 --> 00:26:25,520 Really? 552 00:26:33,520 --> 00:26:35,520 Well, that's about all there was to it. 553 00:26:37,520 --> 00:26:41,520 Except that old Draculon really was a pretty good writer, I guess. 554 00:26:41,520 --> 00:26:43,520 Because I made the changes he suggested. 555 00:26:43,520 --> 00:26:45,520 And you know what? 556 00:26:45,520 --> 00:26:47,520 I sold the story. 557 00:27:05,520 --> 00:27:07,520 Suspense! 558 00:27:07,520 --> 00:27:09,520 Presented by Autolite. 559 00:27:09,520 --> 00:27:11,520 Tonight's star, Mr. John Lund. 560 00:27:11,520 --> 00:27:13,520 Hello. Got another poem for you. 561 00:27:13,520 --> 00:27:15,520 Okay. 562 00:27:15,520 --> 00:27:17,520 Hello, Wilcox, the car owner's delight, 563 00:27:17,520 --> 00:27:19,520 awoke one night from a deep dream of... 564 00:27:19,520 --> 00:27:21,520 Autolite. 565 00:27:21,520 --> 00:27:23,520 But let's be more specific, Hap. 566 00:27:23,520 --> 00:27:25,520 I dreamed that every car in America was equipped 567 00:27:25,520 --> 00:27:27,520 with world-famous ignition-engineered Autolite spark plugs. 568 00:27:27,520 --> 00:27:29,520 And you know, 569 00:27:29,520 --> 00:27:31,520 spark plugs are only one of more than 400 products 570 00:27:31,520 --> 00:27:33,520 made by Autolite 571 00:27:33,520 --> 00:27:35,520 for cars, trucks, planes, and boats 572 00:27:35,520 --> 00:27:37,520 in 28 plants coast to coast. 573 00:27:37,520 --> 00:27:39,520 These include complete electrical systems 574 00:27:39,520 --> 00:27:41,520 used as original equipment 575 00:27:41,520 --> 00:27:43,520 on many makes of America's finest cars. 576 00:27:43,520 --> 00:27:45,520 Spark plugs, batteries, generators, 577 00:27:45,520 --> 00:27:47,520 coils, distributors, 578 00:27:47,520 --> 00:27:49,520 electric windshield wipers, starting motors, 579 00:27:49,520 --> 00:27:51,520 bullseye sealed beam headlights. 580 00:27:51,520 --> 00:27:53,520 All engineered to fit together perfectly, 581 00:27:53,520 --> 00:27:55,520 work together perfectly, 582 00:27:55,520 --> 00:27:57,520 because they're a perfect team. 583 00:27:57,520 --> 00:27:59,520 So, friends, don't accept 584 00:27:59,520 --> 00:28:01,520 electrical parts supposed to be as good. 585 00:28:01,520 --> 00:28:03,520 Ask for and insist on Autolite 586 00:28:03,520 --> 00:28:05,520 original factory parts 587 00:28:05,520 --> 00:28:07,520 at your neighborhood service station, car dealer, 588 00:28:07,520 --> 00:28:09,520 garage, or repair shop. 589 00:28:09,520 --> 00:28:11,520 Remember, you're always right with Autolite. 590 00:28:11,520 --> 00:28:13,520 Autolite. 591 00:28:13,520 --> 00:28:15,520 Autolite. 592 00:28:15,520 --> 00:28:17,520 Autolite. 593 00:28:17,520 --> 00:28:19,520 Autolite. 594 00:28:19,520 --> 00:28:21,520 Next Thursday for Suspense, our star will be 595 00:28:21,520 --> 00:28:23,520 Miss Claire Trevor. 596 00:28:23,520 --> 00:28:25,520 The play is called Angel Face, and it is, as we say, 597 00:28:25,520 --> 00:28:27,520 a tale well calculated 598 00:28:27,520 --> 00:28:29,520 to keep you in... 599 00:28:29,520 --> 00:28:31,520 Suspense. 600 00:28:31,520 --> 00:28:33,520 Suspense. 601 00:28:33,520 --> 00:28:43,520 Tonight's Suspense play was produced and edited by William Spear and directed by Norman MacDonald. 602 00:28:43,520 --> 00:28:47,520 Music for Suspense is composed by Lucian Morrowek and conducted by Lud Bluskin. 603 00:28:47,520 --> 00:28:53,520 The Man in the Room is an original play written for radio by William Idelson and Mary Castle. 604 00:28:53,520 --> 00:28:59,520 John Lund is currently being co-starred with Barbara Stanwyck in the Paramount picture No Man of Her Own. 605 00:28:59,520 --> 00:29:01,520 In the coming weeks, you will hear such stars as 606 00:29:01,520 --> 00:29:05,520 Charles Boyer, Edward G. Robinson, Jack Carson, and Dennis O'Keefe. 607 00:29:05,520 --> 00:29:13,520 And don't forget, next Thursday, same time, Autolite will present Suspense, starring Claire Trevor. 608 00:29:13,520 --> 00:29:23,520 You can buy world famous Autolite resistor or regular spark plugs, Autolite staple batteries, Autolite electrical parts, at your neighborhood Autolite dealers. 609 00:29:23,520 --> 00:29:25,520 Switch to Autolite. Good night. 610 00:29:25,520 --> 00:29:31,520 In spite of better food supplies, millions are still starving in Europe and Japan. 611 00:29:31,520 --> 00:29:34,520 The need is particularly acute in free Berlin. 612 00:29:34,520 --> 00:29:37,520 Send your contributions to CARE, C-A-R-E, New York. 613 00:29:37,520 --> 00:29:56,520 This is CBS, the Columbia Broadcasting System.