WEBVTT 00:00.000 --> 00:10.000 Auto Light and its 96,000 dealers present Suspense. 00:10.000 --> 00:20.920 Tonight, Auto Light brings you Mr. John Lund in The Man in the Room, a suspense play produced 00:20.920 --> 00:24.000 and edited by William Spear. 00:24.000 --> 00:30.000 Harlow, what's the best bait to use for bass? 00:30.000 --> 00:31.000 I don't know, Hap. 00:31.000 --> 00:32.000 Better ask an ichthyologist. 00:32.000 --> 00:33.000 An ichthyologist? 00:33.000 --> 00:36.440 An ichthyologist, an expert on fish. 00:36.440 --> 00:38.840 When I need information, I believe in going to an expert. 00:38.840 --> 00:41.240 That go for spark plug information too? 00:41.240 --> 00:42.240 Sure. 00:42.240 --> 00:46.640 And who knows more about the best spark plugs for your car than Auto Light ignition engineers, 00:46.640 --> 00:50.920 the men who design and build complete ignition systems used as original equipment on many 00:50.920 --> 00:52.640 makes of America's finest cars. 00:52.640 --> 00:56.960 You mean they know how to build into spark plugs the best in quick starting smooth performance 00:56.960 --> 00:58.240 and gas mileage, eh, Harlow? 00:58.240 --> 00:59.400 Of course, Hap. 00:59.400 --> 01:03.560 That's what's made Auto Light the world's largest independent manufacturer of automotive 01:03.560 --> 01:05.360 electrical equipment. 01:05.360 --> 01:08.800 And it was Auto Light engineering know-how that made possible the development of the 01:08.800 --> 01:13.600 Auto Light Resistor Spark Plug, one of the greatest advances in spark plug design for 01:13.600 --> 01:16.560 automotive use in the past 20 years. 01:16.560 --> 01:20.160 So friends, see your friendly Auto Light spark plug dealer tomorrow. 01:20.160 --> 01:24.880 Have him replace worn out spark plugs with world famous ignition engineered Auto Light 01:24.880 --> 01:25.880 spark plugs. 01:25.880 --> 01:30.040 Whether you choose the resistor type or the regular type, you'll be right because you're 01:30.040 --> 01:32.680 always right with Auto Light. 01:32.680 --> 01:38.720 And now with the man in the room and the performance of John Lund, Auto Light hopes once again 01:38.720 --> 01:42.520 to keep you in suspense. 01:42.520 --> 01:52.320 When I was 10, I first read Edgar Allan Poe's story of the miraculous room, the room whose 01:52.320 --> 01:56.840 terrible walls closed slowly in upon their prisoner. 01:56.840 --> 01:59.400 Made a deep impression upon me. 01:59.400 --> 02:04.200 My most persistent nightmare was that I was the poor devil in the story. 02:04.200 --> 02:10.680 I didn't know then that he had been impressed by it too, and that someday I would actually 02:10.680 --> 02:14.600 be the man in the room. 02:14.600 --> 02:21.480 Excuse me, can you tell me what floor Miss Markham is on? 02:21.480 --> 02:24.920 Miss Markham, what do you want with her? 02:24.920 --> 02:27.520 Why, I want her to do some work for me. 02:27.520 --> 02:29.520 She does typing, doesn't she? 02:29.520 --> 02:32.240 Third floor, step in. 02:32.240 --> 02:33.240 Thank you. 02:33.240 --> 02:36.240 You're a writer? 02:36.240 --> 02:37.240 Yes. 02:37.240 --> 02:40.920 What do you write? 02:40.920 --> 02:43.920 Stories, mostly. 02:43.920 --> 02:45.400 Some? 02:45.400 --> 02:46.840 Occasionally. 02:46.840 --> 02:57.480 She's down at the end of the hall, before you see the door open. 02:57.480 --> 02:58.480 Thank you very much. 02:58.480 --> 03:10.440 Oh, come in, please. 03:10.440 --> 03:11.440 Thank you. 03:11.440 --> 03:12.440 Miss Markham? 03:12.440 --> 03:13.440 That's right. 03:13.440 --> 03:14.440 What can I do for you? 03:14.440 --> 03:15.640 I saw your ad in the paper. 03:15.640 --> 03:17.520 I thought perhaps you could do some work for me. 03:17.520 --> 03:19.520 Oh, yes, yes, of course. 03:19.520 --> 03:20.520 What is it? 03:20.520 --> 03:21.520 Typing, mimeography? 03:21.520 --> 03:22.520 Typing, manuscript. 03:22.520 --> 03:23.520 You're a writer? 03:23.520 --> 03:24.520 Yes. 03:24.520 --> 03:25.520 Oh. 03:25.520 --> 03:26.520 Would you shut the door, please? 03:26.520 --> 03:27.520 Oh, yes, yes, of course. 03:27.520 --> 03:28.520 Thanks. 03:28.520 --> 03:34.840 You find that I do absolutely perfect work, and at the most reasonable rates. 03:34.840 --> 03:38.200 I've had many years of experience, although not in this city. 03:38.200 --> 03:39.960 I just recently moved here. 03:39.960 --> 03:42.000 Will you have much for me to do? 03:42.000 --> 03:44.000 Well, that depends. 03:44.000 --> 03:47.400 Frankly, Miss Markham, the price is a factor with me. 03:47.400 --> 03:51.800 You see, I'm a freelance writer, and at best, that's a precarious occupation. 03:51.800 --> 03:52.800 I see. 03:52.800 --> 03:55.800 Well, is 30 cents a page too much? 03:55.800 --> 03:56.800 Why? 03:56.800 --> 04:00.560 I was about to say that 30 seems extremely reasonable. 04:00.560 --> 04:03.480 Well, I've already said 25, so we'll leave it at that. 04:03.480 --> 04:04.480 You're very kind. 04:04.480 --> 04:05.480 Not at all. 04:05.480 --> 04:06.480 Excuse me, please. 04:06.480 --> 04:11.480 Was... was that the elevator man running down the hall? 04:11.480 --> 04:14.480 Well, no, I didn't see anyone. 04:14.480 --> 04:17.480 It's been a lovely day, hasn't it? 04:17.480 --> 04:18.480 Yes. 04:18.480 --> 04:19.480 Yes, it has. 04:19.480 --> 04:25.480 I think the weather is so perfect here. 04:25.480 --> 04:27.240 I know I'm going to love this city. 04:27.240 --> 04:33.280 It's so difficult coming to a new place and trying to establish oneself, especially so 04:33.280 --> 04:34.280 late in life. 04:34.280 --> 04:37.160 But I think things are going to work out fine. 04:37.160 --> 04:38.160 I hope so. 04:38.160 --> 04:40.160 Would you like to leave your manuscript now? 04:40.160 --> 04:41.160 Yes, here it is. 04:41.160 --> 04:42.160 Oh, thank you. 04:42.160 --> 04:43.160 Yes, 40 pages. 04:43.160 --> 04:47.840 I'll have that ready for you day after tomorrow. 04:47.840 --> 04:49.120 Oh, that'll be fine. 04:49.120 --> 04:52.120 I'll come back and pick it up then. 04:52.120 --> 04:56.720 I left the office and rang for the elevator. 04:56.720 --> 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 05:00.680 --> 05:02.680 the car and looked him over carefully. 05:02.680 --> 05:11.080 He was a funny little old duck, almost dwarf-sized, with shoulders so rounded he was nearly humpbacked. 05:11.080 --> 05:15.800 I was sure he was the one who had been listening at the door upstairs. 05:15.800 --> 05:20.040 But after all, it was none of my affair. 05:20.040 --> 05:23.680 Two days later, I returned to the old office building to pick up my manuscript. 05:23.680 --> 05:27.640 You come to pick up your typing? 05:27.640 --> 05:28.640 Yes. 05:28.640 --> 05:29.640 Here it is. 05:29.640 --> 05:32.640 She left it for you. 05:32.640 --> 05:35.640 Oh, well, I've got to go up anyway. 05:35.640 --> 05:37.240 I have some more work for Miss Markham. 05:37.240 --> 05:38.240 I'll take it. 05:38.240 --> 05:39.240 She don't want to be disturbed. 05:39.240 --> 05:40.240 Well, I... 05:40.240 --> 05:41.240 Just give it here. 05:41.240 --> 05:42.240 All right. 05:42.240 --> 05:50.000 I gave him the manuscript and left. 05:50.000 --> 05:54.760 Two days later, when I returned, he had the completed work ready for me down on the first 05:54.760 --> 05:55.760 floor. 05:55.760 --> 06:00.640 That's the way it went on on the other occasions when I had typing for Miss Markham to do. 06:00.640 --> 06:04.880 The old man took it from me downstairs and had it ready for me when I returned. 06:04.880 --> 06:09.040 There was always a reason for me not to go upstairs. 06:09.040 --> 06:15.040 Miss Markham was working, didn't want to be disturbed, or she just left for lunch, or 06:15.040 --> 06:19.160 she wasn't down that day because of illness. 06:19.160 --> 06:24.800 One day when I came to pick up some material, the elevator was not down on the first floor, 06:24.800 --> 06:27.320 and my curiosity got the better of me. 06:27.320 --> 06:32.040 Instead of ringing, I took the stairs and walked up to the third floor. 06:32.040 --> 06:38.920 Oh, it's you. 06:38.920 --> 06:39.920 Where's Miss Markham? 06:39.920 --> 06:40.920 She ain't here. 06:40.920 --> 06:42.920 You can see she ain't. 06:42.920 --> 06:43.920 Yes. 06:43.920 --> 06:44.920 Are you typing? 06:44.920 --> 06:45.920 Sure. 06:45.920 --> 06:46.920 I help her out sometimes. 06:46.920 --> 06:49.360 She's sick today. 06:49.360 --> 06:52.360 Oh, I see. 06:52.360 --> 06:55.160 I just finished your story. 06:55.160 --> 06:58.400 That's fine. 06:58.400 --> 06:59.880 It won't sell, though. 06:59.880 --> 07:00.880 What? 07:00.880 --> 07:02.360 I say it won't sell. 07:02.360 --> 07:03.360 It's clumsy. 07:03.360 --> 07:05.360 Oh, you think so? 07:05.360 --> 07:06.360 Yes. 07:06.360 --> 07:08.080 It's all hard, Pudge. 07:08.080 --> 07:09.080 You write too fast. 07:09.080 --> 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. 07:15.040 --> 07:16.400 All right. 07:16.400 --> 07:22.120 But it won't sell. 07:22.120 --> 07:26.560 That night at home, I'd been working for hours on a plot for a mystery story. 07:26.560 --> 07:28.600 I was having absolutely no luck. 07:28.600 --> 07:30.600 I simply couldn't concentrate. 07:30.600 --> 07:33.760 Then I had a thought. 07:33.760 --> 07:38.440 How would it be to use Miss Markham and the elevator man as the basis for a story? 07:38.440 --> 07:43.040 Just take the situation as it stood now and fabricate the rest of the plot from there. 07:43.040 --> 07:44.880 Let's see. 07:44.880 --> 07:48.120 The old man could have murdered her and hidden the body. 07:48.120 --> 07:50.960 Possibly he'd done it immediately after I'd seen her last, and she'd been dead all this 07:50.960 --> 07:51.960 time. 07:51.960 --> 07:55.200 I even made up a fine name for the elevator man. 07:55.200 --> 07:56.200 I called him Graklin. 07:56.200 --> 08:02.680 But for the life of me, I couldn't build a story. 08:02.680 --> 08:03.680 Why had he killed her? 08:03.680 --> 08:06.680 What had he done with the body? 08:06.680 --> 08:08.680 The plot wouldn't move. 08:08.680 --> 08:12.520 And yet somehow I couldn't discard it and try another. 08:12.520 --> 08:16.160 I knew that I was stuck with it until I worked it out. 08:16.160 --> 08:19.600 Well, how about the reality? 08:19.600 --> 08:21.640 What had happened to Miss Markham? 08:21.640 --> 08:23.640 Why hadn't I seen her for over two weeks? 08:23.640 --> 08:28.280 The only thing to do, I decided, was to find out more about the real situation. 08:28.280 --> 08:31.520 Perhaps I could evolve something from that. 08:31.520 --> 08:32.520 Hello? 08:32.520 --> 08:33.520 Hello, George? 08:33.520 --> 08:34.520 Bird. 08:34.520 --> 08:37.520 Oh, how are you, birdy old boy? 08:37.520 --> 08:38.520 Fine. 08:38.520 --> 08:39.520 Listen, George. 08:39.520 --> 08:43.520 Who does your typing? 08:43.520 --> 08:44.520 My typing? 08:44.520 --> 08:45.520 Why, Harrison Lewis? 08:45.520 --> 08:46.520 Oh, yes. 08:46.520 --> 08:47.520 At 50 cents a page. 08:47.520 --> 08:48.520 I forgot you were rich. 08:48.520 --> 08:49.520 Why? 08:49.520 --> 08:52.520 Well, I thought perhaps you'd seen the same ad in the paper that I did. 08:52.520 --> 08:53.520 A Miss Markham. 08:53.520 --> 08:54.520 She's been doing some work for me. 08:54.520 --> 08:55.520 Markham? 08:55.520 --> 08:56.520 No, I didn't see it. 08:56.520 --> 08:57.520 Why? 08:57.520 --> 08:58.520 Is she any good? 08:58.520 --> 08:59.520 Oh, yes. 08:59.520 --> 09:00.520 She's very good. 09:00.520 --> 09:01.520 Well, what does she charge? 09:01.520 --> 09:02.520 30 cents a page. 09:02.520 --> 09:03.520 Hey, that is cheap. 09:03.520 --> 09:04.520 I'm not sure I'm going to be able to afford it. 09:04.520 --> 09:05.520 I'm not sure I'm going to be able to afford it. 09:05.520 --> 09:06.520 I'm not sure I'm going to be able to afford it. 09:06.520 --> 09:07.520 I'm not sure I'm going to be able to afford it. 09:07.520 --> 09:09.520 I'm not sure I'm going to be able to afford it. 09:09.520 --> 09:10.520 Maybe I'll switch. 09:10.520 --> 09:11.520 Where's she located? 09:11.520 --> 09:12.520 202 West Olive. 09:12.520 --> 09:15.960 Why don't you go up and see her anyway? 09:15.960 --> 09:16.960 Let me know what she says. 09:16.960 --> 09:17.960 All right. 09:17.960 --> 09:18.960 I'll go in the morning. 09:18.960 --> 09:19.960 Fine. 09:19.960 --> 09:20.960 Goodbye, George. 09:20.960 --> 09:26.520 The next morning I called information and got Miss Markham's office number. 09:26.520 --> 09:29.360 It was not yet listed in the directory. 09:29.360 --> 09:33.520 I called the number, somehow knowing there would be no answer. 09:33.520 --> 09:34.520 Hello? 09:34.520 --> 09:37.520 Oh, hello. 09:37.520 --> 09:39.520 Miss Markham? 09:39.520 --> 09:40.520 Yes? 09:40.520 --> 09:43.520 Well, this is Mr. Freeland. 09:43.520 --> 09:45.520 I heard you were ill yesterday. 09:45.520 --> 09:48.520 Just thought I'd call and see how you were. 09:48.520 --> 09:49.520 That's very nice of you. 09:49.520 --> 09:50.520 Thank you very much. 09:50.520 --> 09:52.520 I'm feeling much better today. 09:52.520 --> 09:54.520 Oh, I'm glad. 09:54.520 --> 09:57.520 I expect to have some more work for you at the end of the week. 09:57.520 --> 09:58.520 All right. 09:58.520 --> 09:59.520 Just bring it in. 09:59.520 --> 10:00.520 I will. 10:00.520 --> 10:03.520 And oh, yes, Miss Markham, I haven't received a bill from you yet. 10:03.520 --> 10:04.520 Would you send one soon? 10:04.520 --> 10:05.520 Yes, I will. 10:05.520 --> 10:06.520 Thank you. 10:06.520 --> 10:07.520 Goodbye, Miss Markham. 10:07.520 --> 10:08.520 Goodbye. 10:08.520 --> 10:18.520 I hung up thinking, well, there goes my plot into a cocked hat. 10:18.520 --> 10:23.520 I realized then that I had begun to believe something had happened to Miss Markham. 10:23.520 --> 10:25.520 Talked myself into it, I guess. 10:25.520 --> 10:27.520 Confused the fiction with the reality. 10:27.520 --> 10:32.520 But just because she was alive and well, that was no reason why I couldn't still build a 10:32.520 --> 10:34.520 good story from the same idea. 10:34.520 --> 10:36.520 Now, let's see. 10:36.520 --> 10:39.520 Graclyn had killed Miss Markham and hidden the body. 10:39.520 --> 10:41.520 But when I called up, she answered. 10:41.520 --> 10:43.520 No, I couldn't use that. 10:43.520 --> 10:44.520 But wait a minute. 10:44.520 --> 10:45.520 Why couldn't I? 10:45.520 --> 10:47.520 Why, certainly, there was a twist. 10:47.520 --> 10:52.520 Sure, Graclyn gets another woman to impersonate Miss Markham. 10:52.520 --> 10:56.520 The only ones he'd have to worry about would be the people who had seen the first Miss Markham. 10:56.520 --> 10:58.520 Well, that's the way my story would go anyway. 10:58.520 --> 11:02.520 I sat down with my typewriter and made it sing for a couple of hours. 11:02.520 --> 11:04.520 The story was coming along fine. 11:04.520 --> 11:07.520 The only thing I needed was some background on Graclyn. 11:07.520 --> 11:09.520 Well, nothing like the source. 11:09.520 --> 11:14.520 At about 4.30 that afternoon, I was down on West Olive Street near the 202 building. 11:14.520 --> 11:19.520 At about 5, Graclyn came out and started up the street. 11:19.520 --> 11:23.520 He got on a bus, so I looked around for a cab. 11:23.520 --> 11:25.520 Scabby, you taking? 11:25.520 --> 11:26.520 Nah, hop in. 11:26.520 --> 11:27.520 Good. 11:27.520 --> 11:30.520 Listen, follow that bus, but not too close. 11:30.520 --> 11:31.520 I'll tell you when to stop. 11:31.520 --> 11:32.520 Okay. 11:34.520 --> 11:37.520 He stayed on that bus all the way to the end of the line. 11:37.520 --> 11:42.520 I got out of the cab about a block before the final bus stop and saw the old man get off. 11:42.520 --> 11:44.520 It was almost prairie here. 11:44.520 --> 11:48.520 Large vacant lots and only a few scattered houses. 11:48.520 --> 11:50.520 He entered one of them. 11:50.520 --> 11:55.520 After about 20 minutes, when it was getting dark, I walked slowly up to the place. 11:55.520 --> 12:01.520 There was a light around him back, and I went quietly along the side of the house to the window. 12:01.520 --> 12:03.520 I looked in. 12:03.520 --> 12:09.520 There sat Graclyn bent over a table, writing with a quill pen. 12:09.520 --> 12:12.520 But it was the room that surprised me. 12:12.520 --> 12:19.520 The walls were filled from floor to ceiling with books, heavy scholarly books. 12:19.520 --> 12:22.520 And then I saw it. 12:22.520 --> 12:27.520 And a smaller table against the wall stood her picture. 12:27.520 --> 12:33.520 She was younger in the photo and prettier, but it was unmistakably she. 12:33.520 --> 12:35.520 Miss Markham. 12:35.520 --> 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. 12:58.520 --> 13:08.520 Hello, do ichthyologists and zoologists have anything in common? 13:08.520 --> 13:12.520 Well, in a way, half. You see, any kind of anologist is an expert in his field. 13:12.520 --> 13:16.520 Well, I guess that makes you a spark-plugologist, hey, Wilcox. 13:16.520 --> 13:19.520 Well, not exactly. I'm more of a gabologist. 13:19.520 --> 13:22.520 The real experts are the auto light ignition engineers. 13:22.520 --> 13:29.520 They design and build complete ignition systems for use as original equipment on many makes of America's finest cars. 13:29.520 --> 13:34.520 So naturally, they've built spark plugs that will work as a team with the ignition systems. 13:34.520 --> 13:39.520 Spark plugs that are un-excelled for quick starting, smooth performance, and gas mileage. 13:39.520 --> 13:40.520 Sounds logical. 13:40.520 --> 13:45.520 Of course. And these same auto light engineers developed the famous auto light resistor spark plug. 13:45.520 --> 13:50.520 One of the greatest advances in spark plug design for automotive use in the past 20 years. 13:50.520 --> 13:52.520 They're experts, all right, Harlow. 13:52.520 --> 13:55.520 So friends, see your friendly auto light spark plug dealer tomorrow. 13:55.520 --> 14:00.520 Have him replace worn out spark plugs with ignition engineered auto light spark plugs. 14:00.520 --> 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. 14:10.520 --> 14:19.520 And now auto light brings back to our Hollywood sound stage our star, John Lund, in The Man in the Room. 14:19.520 --> 14:24.520 A tale well calculated to keep you in suspense. 14:27.520 --> 14:29.520 In the next morning's mail was her bill. 14:29.520 --> 14:33.520 But there was a mistake. She charged me 40 cents a page. 14:33.520 --> 14:37.520 So I put on my coat and started downtown. 14:37.520 --> 14:41.520 As I walked up Olive Street, I wondered if Drackman would let me up to see Miss Markham. 14:41.520 --> 14:49.520 If it were in my story, he couldn't because I'd immediately recognize her as another woman. 14:49.520 --> 14:50.520 Three, please. 14:50.520 --> 14:51.520 I'll just step. 14:51.520 --> 14:53.520 Miss Markham is in today? 14:53.520 --> 14:56.520 Yep. 14:56.520 --> 15:01.520 You know, I haven't seen her for some time. She's always been out or sick or something. 15:01.520 --> 15:02.520 That's so. 15:02.520 --> 15:04.520 Certainly it's so. You were the one who kept telling me. 15:04.520 --> 15:08.520 Oh, well, I can't remember everybody who comes in here. 15:08.520 --> 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. 15:12.520 --> 15:15.520 This is the most deserted office building I've ever seen. 15:15.520 --> 15:19.520 Well, sometimes it is a little quiet. 15:22.520 --> 15:23.520 You know where it is? 15:23.520 --> 15:24.520 Yes. 15:30.520 --> 15:31.520 Come in. 15:33.520 --> 15:34.520 Miss Markham. 15:34.520 --> 15:38.520 Oh, you are Miss Markham. 15:38.520 --> 15:40.520 Yes, of course. Why? 15:40.520 --> 15:44.520 Oh, no reason. I'm a little confused. 15:44.520 --> 15:46.520 Been writing too much lately, I guess. 15:46.520 --> 15:47.520 Oh. 15:47.520 --> 15:51.520 Well, the reason I came down is because of your bill. 15:51.520 --> 15:52.520 There's a mistake? 15:52.520 --> 15:55.520 Don't you remember? You said you were going to charge me 25 cents a page. 15:55.520 --> 15:57.520 But your bill says 40. 15:57.520 --> 16:01.520 Oh, oh yes, I do remember now. That's right, 25. 16:01.520 --> 16:04.520 The error is mine. I'll change it. I'm terribly sorry. 16:04.520 --> 16:06.520 Oh, that's all right. I wasn't worried about it. 16:06.520 --> 16:09.520 If you'd like to re-figure it, I can leave you a check right now. 16:09.520 --> 16:13.520 Do you possibly have the cash? 16:13.520 --> 16:20.520 Well, let's see. Yes, yes, I think I do. Would you prefer that? 16:20.520 --> 16:21.520 If you don't mind. 16:26.520 --> 16:30.520 I paid the bill and went home. Back to my story. 16:30.520 --> 16:34.520 My story that had turned out to be pure fiction after all. 16:34.520 --> 16:38.520 Miss Markham was alive and well and back in her office, 16:38.520 --> 16:41.520 looking just as she had the first time I saw her. 16:41.520 --> 16:44.520 Well, I had used all of the real situation I could, 16:44.520 --> 16:47.520 and from now on I was operating on pure imagination. 16:47.520 --> 16:49.520 Let's see. 16:49.520 --> 16:52.520 Hey, wait a minute. 16:52.520 --> 16:55.520 Just because she looks the same doesn't mean she's the same woman. 16:55.520 --> 16:57.520 She was a twin, see? 16:57.520 --> 17:02.520 The first Miss Markham's twin sister, and Gretlin was their brother. 17:02.520 --> 17:04.520 Why had he killed the first Miss Markham? 17:04.520 --> 17:08.520 Well, for money, her life savings. That was always a good motive. 17:08.520 --> 17:10.520 And the twin sister was in on it and would split with him. 17:10.520 --> 17:15.520 Fine. I rattled off the story and the next morning brought it in to be typed. 17:15.520 --> 17:16.520 Good morning, Mr. Freeland. 17:16.520 --> 17:19.520 Good morning, Miss Markham. Got another story for you. 17:19.520 --> 17:22.520 Oh? Well, I'm not sure that I can start on anything right now. 17:22.520 --> 17:24.520 I'm closing up the office, you know. 17:24.520 --> 17:25.520 Oh? 17:25.520 --> 17:27.520 Yes, this climate doesn't agree with me at all. 17:27.520 --> 17:30.520 As a matter of fact, I never did like city life. 17:30.520 --> 17:32.520 You've evidently changed your mind about things. 17:32.520 --> 17:34.520 I beg your pardon? 17:34.520 --> 17:36.520 Remember the first day you came up here? 17:36.520 --> 17:39.520 You were telling me how well you liked our city and the weather? 17:39.520 --> 17:43.520 Oh, yes. Well, you can always depend on a woman, can't you? 17:43.520 --> 17:45.520 Yeah, I guess so. 17:45.520 --> 17:49.520 I really wish you could finish this story for me. It's not very long. 17:49.520 --> 17:50.520 Oh? 17:50.520 --> 17:51.520 Only about 28 pages. 17:51.520 --> 17:54.520 I see. Well, perhaps I can rush it out. 17:54.520 --> 17:57.520 I sort of feel that I owe you something anyway. 17:57.520 --> 17:58.520 Why? 17:58.520 --> 18:01.520 For being so nice about that mistake I made on your bill. 18:01.520 --> 18:02.520 Oh, that was nothing. 18:02.520 --> 18:05.520 Well, leave the manuscript here and I'll try to have it done by tomorrow afternoon. 18:05.520 --> 18:08.520 Tomorrow is my last day. Come in about two o'clock. 18:08.520 --> 18:10.520 Right. And thanks a lot, Miss Markham. 18:14.520 --> 18:16.520 The next day was Saturday. 18:16.520 --> 18:19.520 And if the building had seemed deserted on other days, 18:19.520 --> 18:23.520 it had really been a beehive compared to two o'clock on Saturday afternoon. 18:23.520 --> 18:25.520 Now it was a morgue. 18:25.520 --> 18:29.520 When I entered Miss Markham's office, she was standing there holding a sheaf of papers. 18:29.520 --> 18:34.520 Mr. Freeland, where did you ever get the idea for that story? 18:34.520 --> 18:39.520 Oh, well, I hope it didn't disturb you, but I was desperate for a plot 18:39.520 --> 18:42.520 and I guess I just let my imagination run wild. 18:42.520 --> 18:45.520 I see. Well, I'll just put it in an envelope. 18:45.520 --> 18:49.520 Thank you. And I'll pay you now because I probably won't see you again. 18:49.520 --> 18:52.520 That's right. You probably won't. 18:52.520 --> 18:55.520 Well, I guess I'll just say goodbye. 18:55.520 --> 18:57.520 Goodbye, Miss Markham, and good luck. 18:57.520 --> 19:00.520 Thank you. And the same to you. 19:04.520 --> 19:07.520 Garacln was waiting for me there on the third floor. 19:07.520 --> 19:10.520 He had probably just stayed there while I was in the office. 19:10.520 --> 19:13.520 I got in the elevator and he closed the door. 19:14.520 --> 19:17.520 Get your story, Mr. Freeland? 19:17.520 --> 19:19.520 Huh? Oh, yes. Yes, I did. 19:19.520 --> 19:23.520 Hmm. Not a bad story. Miss Markham let me read it. 19:23.520 --> 19:25.520 Oh? 19:26.520 --> 19:28.520 But it needs rewriting. 19:28.520 --> 19:29.520 Oh, is that so? 19:29.520 --> 19:33.520 Yes. Like I told you before, Mr. Freeland, you write too fast. 19:33.520 --> 19:36.520 You aren't careful enough with reality. 19:36.520 --> 19:38.520 I'm afraid I don't understand. 19:38.520 --> 19:42.520 Well, now that part about hiding the body in the elevator shaft, for instance, 19:42.520 --> 19:45.520 you almost had a good thing there, 19:45.520 --> 19:49.520 but I could tell you've never been in an elevator shaft, have you? 19:49.520 --> 19:53.520 I know. You've passed the first floor. 19:53.520 --> 19:56.520 Let's go down a bit. I'd like to show you something. 19:58.520 --> 20:00.520 This is the basement. 20:00.520 --> 20:02.520 Yes. Yes, I see. 20:02.520 --> 20:05.520 You notice how the air gets closer as you go down? 20:05.520 --> 20:09.520 It's little touches like that that make a story real. 20:09.520 --> 20:11.520 Ah. 20:11.520 --> 20:14.520 Sub-basement. 20:17.520 --> 20:21.520 Mr. Freeland, would you like to see what an elevator shaft looks like? 20:21.520 --> 20:22.520 Well, I... 20:22.520 --> 20:24.520 Come on. It's very interesting. 20:24.520 --> 20:26.520 Especially for a writer. 20:26.520 --> 20:27.520 All right. 20:27.520 --> 20:29.520 Fine. Follow me. 20:30.520 --> 20:33.520 Now, we'll just go down these stairs on your left. 20:33.520 --> 20:36.520 There's only a few of them, but they're kind of dark. Be careful. 20:36.520 --> 20:38.520 I will. 20:38.520 --> 20:41.520 I wouldn't want you to fall. 20:44.520 --> 20:48.520 Now, we go through this little steel door. 20:51.520 --> 20:54.520 After you, Mr. Freeland. 20:54.520 --> 20:56.520 Thank you. 20:59.520 --> 21:03.520 You see, this is what the bottom of an elevator shaft looks like. 21:03.520 --> 21:07.520 Yes, yes, it... it is interesting. 21:07.520 --> 21:11.520 You could make all kinds of noise down here and no one would know. 21:11.520 --> 21:13.520 Well... 21:13.520 --> 21:16.520 Now, about your story. 21:16.520 --> 21:21.520 You had me, I mean, Gretlin, bury the woman in the floor of the shaft. 21:21.520 --> 21:23.520 Now, that would never do. 21:23.520 --> 21:24.520 No? 21:24.520 --> 21:29.520 No. If you dug a grave down here, the inspector would find it in a minute. 21:29.520 --> 21:30.520 Oh. 21:30.520 --> 21:33.520 Ah, yes. The inspector's very sharp. 21:33.520 --> 21:35.520 Very sharp. 21:35.520 --> 21:37.520 But in the wall. 21:37.520 --> 21:38.520 The wall? 21:38.520 --> 21:41.520 Yes. See those bricks? 21:41.520 --> 21:45.520 Now, if I go to exactly the right place... 21:45.520 --> 21:49.520 Look, I can pull several of them right out. 21:49.520 --> 21:53.520 And after I've got all the loose ones out, 21:53.520 --> 21:57.520 there's a regular cavity been dug out behind them. 21:58.520 --> 22:01.520 Come here. Look for yourself. 22:01.520 --> 22:02.520 Ah. 22:02.520 --> 22:03.520 Miss Markham! 22:03.520 --> 22:05.520 Yes. See how snugly she fits in there? 22:05.520 --> 22:08.520 I spent a long time digging that hole. 22:08.520 --> 22:10.520 She's dead. You... you killed her. 22:10.520 --> 22:12.520 Yes. Didn't you really know? 22:12.520 --> 22:15.520 I... I just put these bricks back now. 22:19.520 --> 22:21.520 You had some of the things quite right. 22:21.520 --> 22:24.520 The woman upstairs is merely her twin sister. 22:24.520 --> 22:26.520 This one's name is Dorothy. 22:26.520 --> 22:28.520 I married Dorothy, but I should have married Millie. 22:28.520 --> 22:31.520 You see, Mr. Freeland, I am a writer too. 22:31.520 --> 22:33.520 More than a writer, a poet. 22:33.520 --> 22:37.520 But I didn't sell anything, and Dorothy lost faith in me. 22:37.520 --> 22:39.520 She typed stories for hacks like yourself. 22:39.520 --> 22:42.520 While I had to turn the running an elevator, 22:42.520 --> 22:44.520 she caused me to lose faith in myself. 22:44.520 --> 22:47.520 Finally, Dorothy left me and came here. 22:47.520 --> 22:50.520 I followed her and got a job in the same building. 22:50.520 --> 22:52.520 At last, I did what I'd wanted to do for years. 22:52.520 --> 22:55.520 I killed her when I told Millie she said I'd done quite right, 22:55.520 --> 22:57.520 and she came here to help me. 22:57.520 --> 22:59.520 You're insane. 22:59.520 --> 23:01.520 No, Mr. Freeland, I am a poet. 23:01.520 --> 23:03.520 I'm getting out of here. 23:03.520 --> 23:05.520 No, I don't think you are, Mr. Freeland. 23:09.520 --> 23:12.520 Are you surprised how strong I am? 23:12.520 --> 23:14.520 I've done many things in my time, 23:14.520 --> 23:16.520 even if it waits in a circus. 23:16.520 --> 23:18.520 You... you madman. 23:18.520 --> 23:20.520 Enough. Don't try to get up, Mr. Freeland, 23:20.520 --> 23:22.520 or I'll just have to knock you down again. 23:22.520 --> 23:26.520 You see, I've got something quite interesting in store for you. 23:26.520 --> 23:29.520 You remember Edgar Allan Poe's wonderful story 23:29.520 --> 23:32.520 about the man in the room that got smaller and smaller 23:32.520 --> 23:34.520 until it would crush the life out of him? 23:34.520 --> 23:36.520 What... what are you talking about? 23:36.520 --> 23:39.520 There, Mr. Freeland, I have such a room. 23:39.520 --> 23:41.520 You're in it now. 23:41.520 --> 23:43.520 The walls won't move, but the ceiling will. 23:43.520 --> 23:45.520 Look above you. 23:45.520 --> 23:48.520 Most elevators won't go all the way to the bottom of the shaft, 23:48.520 --> 23:50.520 but this one will. I fixed it. 23:50.520 --> 23:52.520 Get out of my way, you lunatic! 23:52.520 --> 23:56.520 I won, Mr. Freeland! 23:56.520 --> 23:59.520 He hit me a crushing blow when I dropped to the ground, stunned. 23:59.520 --> 24:01.520 And you were wrong on my name. 24:01.520 --> 24:03.520 It's Alan Jones. 24:03.520 --> 24:06.520 Then he jumped out of the door and slammed it shut. 24:06.520 --> 24:08.520 I staggered to it, but there was no knob or latch 24:08.520 --> 24:10.520 of any kind on the inside. 24:10.520 --> 24:12.520 It was smooth and flush with the wall. 24:12.520 --> 24:14.520 I heard his footsteps running up the stairs, 24:14.520 --> 24:16.520 and I heard them above me, in the elevator. 24:16.520 --> 24:20.520 Then came a sound that drove me to panic. 24:20.520 --> 24:22.520 Scragglin, stop! 24:22.520 --> 24:24.520 You'll never get away with two murders! 24:24.520 --> 24:26.520 You'll go to the electric chair! Scragglin! 24:26.520 --> 24:29.520 Listen, listen! I won't tell anybody about Miss Markham. 24:29.520 --> 24:32.520 I'll tell up the story! Scragglin! 24:32.520 --> 24:35.520 I sank to my knees until it came on, 24:35.520 --> 24:37.520 and I fell flat on my face, 24:37.520 --> 24:39.520 and still it came closer and closer, 24:39.520 --> 24:41.520 only inches away now. 24:41.520 --> 24:43.520 Desperately I flung out my arms 24:43.520 --> 24:45.520 to flatten myself close to the ground, 24:45.520 --> 24:47.520 and my hand touched the bricks of the wall, 24:47.520 --> 24:49.520 found one of the loose ones, 24:49.520 --> 24:51.520 and not knowing what I was doing, 24:51.520 --> 24:53.520 I clawed at the loose brick and pulled it out a little. 24:53.520 --> 24:55.520 Then, miraculously... 24:57.520 --> 24:59.520 The elevator hung suspended, 24:59.520 --> 25:01.520 the side of it caught on the brick. 25:01.520 --> 25:04.520 I knew it wouldn't be stopped for long. 25:04.520 --> 25:07.520 Already the side of the elevator was grinding into the brick, 25:07.520 --> 25:09.520 and in a moment it would break it 25:09.520 --> 25:11.520 and come pressing down upon me like an ant. 25:11.520 --> 25:14.520 But then, I heard a new sound. 25:16.520 --> 25:18.520 The elevator stopped crushing into the brick now, 25:18.520 --> 25:20.520 and hung motionless. 25:20.520 --> 25:22.520 He'd definitely shut off the power. 25:22.520 --> 25:24.520 He was trying to make up his mind what to do. 25:26.520 --> 25:29.520 Suddenly, the elevator lifted. 25:29.520 --> 25:32.520 I thought going up and up, away from me. 25:32.520 --> 25:35.520 And then, I don't remember. 25:35.520 --> 25:37.520 I must have fainted. 25:41.520 --> 25:43.520 The next thing I knew, 25:43.520 --> 25:45.520 two policemen were holding me up, 25:45.520 --> 25:48.520 asking me questions. 25:48.520 --> 25:50.520 I told them something of what had happened, 25:50.520 --> 25:53.520 and then I asked them about the elevator man. 25:53.520 --> 25:55.520 Oh, him? We sent him off in the wagon. 25:55.520 --> 25:57.520 It was a funny thing. 25:57.520 --> 25:59.520 You see, there was this guy from some publisher, 25:59.520 --> 26:01.520 I think he was, 26:01.520 --> 26:03.520 came here to tell this elevator guy 26:03.520 --> 26:05.520 that he'd won some big poetry contest. 26:05.520 --> 26:07.520 Well, this fellow from the publisher waited around upstairs 26:07.520 --> 26:09.520 and finally started pressing the buzzer. 26:09.520 --> 26:11.520 When the elevator came up, the old man jumped out 26:11.520 --> 26:13.520 and knocked the publisher guy down, 26:13.520 --> 26:15.520 and he went running out into the street. 26:15.520 --> 26:17.520 That's when we got him. 26:17.520 --> 26:19.520 After we sent him off, we came back to investigate. 26:19.520 --> 26:21.520 And we found you. 26:21.520 --> 26:23.520 Really? 26:23.520 --> 26:25.520 Really? 26:33.520 --> 26:35.520 Well, that's about all there was to it. 26:37.520 --> 26:41.520 Except that old Draculon really was a pretty good writer, I guess. 26:41.520 --> 26:43.520 Because I made the changes he suggested. 26:43.520 --> 26:45.520 And you know what? 26:45.520 --> 26:47.520 I sold the story. 27:05.520 --> 27:07.520 Suspense! 27:07.520 --> 27:09.520 Presented by Autolite. 27:09.520 --> 27:11.520 Tonight's star, Mr. John Lund. 27:11.520 --> 27:13.520 Hello. Got another poem for you. 27:13.520 --> 27:15.520 Okay. 27:15.520 --> 27:17.520 Hello, Wilcox, the car owner's delight, 27:17.520 --> 27:19.520 awoke one night from a deep dream of... 27:19.520 --> 27:21.520 Autolite. 27:21.520 --> 27:23.520 But let's be more specific, Hap. 27:23.520 --> 27:25.520 I dreamed that every car in America was equipped 27:25.520 --> 27:27.520 with world-famous ignition-engineered Autolite spark plugs. 27:27.520 --> 27:29.520 And you know, 27:29.520 --> 27:31.520 spark plugs are only one of more than 400 products 27:31.520 --> 27:33.520 made by Autolite 27:33.520 --> 27:35.520 for cars, trucks, planes, and boats 27:35.520 --> 27:37.520 in 28 plants coast to coast. 27:37.520 --> 27:39.520 These include complete electrical systems 27:39.520 --> 27:41.520 used as original equipment 27:41.520 --> 27:43.520 on many makes of America's finest cars. 27:43.520 --> 27:45.520 Spark plugs, batteries, generators, 27:45.520 --> 27:47.520 coils, distributors, 27:47.520 --> 27:49.520 electric windshield wipers, starting motors, 27:49.520 --> 27:51.520 bullseye sealed beam headlights. 27:51.520 --> 27:53.520 All engineered to fit together perfectly, 27:53.520 --> 27:55.520 work together perfectly, 27:55.520 --> 27:57.520 because they're a perfect team. 27:57.520 --> 27:59.520 So, friends, don't accept 27:59.520 --> 28:01.520 electrical parts supposed to be as good. 28:01.520 --> 28:03.520 Ask for and insist on Autolite 28:03.520 --> 28:05.520 original factory parts 28:05.520 --> 28:07.520 at your neighborhood service station, car dealer, 28:07.520 --> 28:09.520 garage, or repair shop. 28:09.520 --> 28:11.520 Remember, you're always right with Autolite. 28:11.520 --> 28:13.520 Autolite. 28:13.520 --> 28:15.520 Autolite. 28:15.520 --> 28:17.520 Autolite. 28:17.520 --> 28:19.520 Autolite. 28:19.520 --> 28:21.520 Next Thursday for Suspense, our star will be 28:21.520 --> 28:23.520 Miss Claire Trevor. 28:23.520 --> 28:25.520 The play is called Angel Face, and it is, as we say, 28:25.520 --> 28:27.520 a tale well calculated 28:27.520 --> 28:29.520 to keep you in... 28:29.520 --> 28:31.520 Suspense. 28:31.520 --> 28:33.520 Suspense. 28:33.520 --> 28:43.520 Tonight's Suspense play was produced and edited by William Spear and directed by Norman MacDonald. 28:43.520 --> 28:47.520 Music for Suspense is composed by Lucian Morrowek and conducted by Lud Bluskin. 28:47.520 --> 28:53.520 The Man in the Room is an original play written for radio by William Idelson and Mary Castle. 28:53.520 --> 28:59.520 John Lund is currently being co-starred with Barbara Stanwyck in the Paramount picture No Man of Her Own. 28:59.520 --> 29:01.520 In the coming weeks, you will hear such stars as 29:01.520 --> 29:05.520 Charles Boyer, Edward G. Robinson, Jack Carson, and Dennis O'Keefe. 29:05.520 --> 29:13.520 And don't forget, next Thursday, same time, Autolite will present Suspense, starring Claire Trevor. 29:13.520 --> 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. 29:23.520 --> 29:25.520 Switch to Autolite. Good night. 29:25.520 --> 29:31.520 In spite of better food supplies, millions are still starving in Europe and Japan. 29:31.520 --> 29:34.520 The need is particularly acute in free Berlin. 29:34.520 --> 29:37.520 Send your contributions to CARE, C-A-R-E, New York. 29:37.520 --> 29:56.520 This is CBS, the Columbia Broadcasting System.