1 00:00:00,000 --> 00:00:10,000 Auto Light and its 96,000 dealers present... 2 00:00:10,000 --> 00:00:12,000 Suspense! 3 00:00:18,000 --> 00:00:22,000 Tonight, Auto Light presents transcribed, A Murderous Revision. 4 00:00:22,000 --> 00:00:30,000 The story about a man who made a recording of a violent death, starring Mr. Richard Widmark. 5 00:00:34,000 --> 00:00:36,000 Hi, Hap! Meet the team. 6 00:00:36,000 --> 00:00:37,000 Where? 7 00:00:37,000 --> 00:00:40,000 Why, right under your car's hood, Hap! 8 00:00:40,000 --> 00:00:43,000 The Auto Light Electrical System, the family team of precision-made units, 9 00:00:43,000 --> 00:00:47,000 including the coil distributor, starting motor, and the other parts, 10 00:00:47,000 --> 00:00:50,000 that make up the complete Auto Light Electrical System, 11 00:00:50,000 --> 00:00:55,000 used as original factory equipment on many leading makes of our finest cars, trucks, and tractors. 12 00:00:55,000 --> 00:00:57,000 Well, what does this team do, Harlow? 13 00:00:57,000 --> 00:01:01,000 Why, Hap, it goes to work for you every time you press the starting switch, 14 00:01:01,000 --> 00:01:03,000 sound your horn, 15 00:01:03,000 --> 00:01:06,000 or play your radio. 16 00:01:07,000 --> 00:01:11,000 The Auto Light Electrical System does all that, huh, Harlow? 17 00:01:11,000 --> 00:01:14,000 Right, Hap, because all its units are related like a family team, 18 00:01:14,000 --> 00:01:18,000 by Auto Light engineering design and manufacturing skill, 19 00:01:18,000 --> 00:01:21,000 for the smoothest performance money can buy. 20 00:01:21,000 --> 00:01:25,000 So, friends, when your Auto Light-equipped car needs replacement parts, 21 00:01:25,000 --> 00:01:28,000 insist on Auto Light original factory parts, 22 00:01:28,000 --> 00:01:34,000 because from bumper to tail light, you're always right with Auto Light. 23 00:01:34,000 --> 00:01:40,000 And now, with a murderous revision, and the performance of Mr. Richard Widmark, 24 00:01:40,000 --> 00:01:44,000 Auto Light hopes once again to keep you in... 25 00:01:44,000 --> 00:01:48,000 suspense. 26 00:02:02,000 --> 00:02:04,000 Yeah? 27 00:02:05,000 --> 00:02:07,000 What did you want to see me for? 28 00:02:07,000 --> 00:02:10,000 Oh, Chris, come in, sit down. 29 00:02:10,000 --> 00:02:12,000 Do you get to hear the show Sunday? 30 00:02:12,000 --> 00:02:14,000 I don't like to listen to the show. 31 00:02:14,000 --> 00:02:16,000 Why not? Because I don't, that's all. 32 00:02:16,000 --> 00:02:17,000 You missed a good one. 33 00:02:17,000 --> 00:02:20,000 I put some zip in that closing scene. I want you to hear it. 34 00:02:20,000 --> 00:02:22,000 I've got the playback ready. 35 00:02:22,000 --> 00:02:25,000 Hand me that record marked Part 2, will you? 36 00:02:25,000 --> 00:02:27,000 Thanks. 37 00:02:27,000 --> 00:02:29,000 I don't know, Chris, I don't make you come to rehearsals. 38 00:02:29,000 --> 00:02:32,000 You don't have to sit in the control room all day. 39 00:02:32,000 --> 00:02:35,000 The least you can do is listen to the show at home. 40 00:02:35,000 --> 00:02:38,000 Well, listen to this now. 41 00:02:38,000 --> 00:02:41,000 George, honest, I didn't mean it, George. 42 00:02:41,000 --> 00:02:43,000 Get this, Chris, get this. 43 00:02:43,000 --> 00:02:47,000 Do you mean to say that you didn't really mean it when you told my brother you didn't love him? 44 00:02:47,000 --> 00:02:51,000 You forget, Doris, that I heard you every word while I was hiding behind the Davenport the night my mother was here. 45 00:02:51,000 --> 00:02:53,000 George, I beg you, don't do this thing. 46 00:02:53,000 --> 00:02:55,000 Put down the gun, George. 47 00:02:55,000 --> 00:02:57,000 This is only what you deserve. 48 00:03:01,000 --> 00:03:03,000 You tricked me for the last time, Doris. 49 00:03:03,000 --> 00:03:08,000 You tricked me for the last time. 50 00:03:13,000 --> 00:03:15,000 What did you change it for? 51 00:03:15,000 --> 00:03:17,000 What was wrong with the ending the way it was? Why did you change it? 52 00:03:17,000 --> 00:03:20,000 I'll just take it easy, Chris. I'll tell you why I changed it. 53 00:03:20,000 --> 00:03:23,000 Because it was wordy and repetitious. It didn't tell the story. 54 00:03:23,000 --> 00:03:25,000 The boys upstairs? 55 00:03:25,000 --> 00:03:28,000 The boys upstairs, yeah, that's just what I thought. The boys upstairs. 56 00:03:28,000 --> 00:03:30,000 They do everything but breathe for you. 57 00:03:30,000 --> 00:03:34,000 Did it ever occur to you that maybe people are wordy and repetitious? 58 00:03:34,000 --> 00:03:37,000 Chris, I'm trying to tell you the scene the way you wrote it. 59 00:03:37,000 --> 00:03:40,000 Just didn't play. Yeah, that's right. All the trade cliches. 60 00:03:40,000 --> 00:03:42,000 Drag them out. It didn't live. It didn't play. 61 00:03:42,000 --> 00:03:45,000 It didn't make the right goose bumps come out on your left elbow. 62 00:03:45,000 --> 00:03:49,000 How did you ever get into this business? Whoever lets you into a radio studio? 63 00:03:49,000 --> 00:03:52,000 I'll tell you what's wrong with you. What you need is a good psychiatrist. 64 00:03:52,000 --> 00:03:54,000 Don't you tell me I need a psychiatrist. 65 00:03:54,000 --> 00:03:57,000 Let go of me. I said let go. 66 00:03:57,000 --> 00:03:59,000 Why, you're nuts. 67 00:03:59,000 --> 00:04:01,000 Now you listen to me. 68 00:04:01,000 --> 00:04:04,000 For two years now I've turned out a murderer week for you. 69 00:04:04,000 --> 00:04:06,000 Week in and week out. A murderer week. 70 00:04:06,000 --> 00:04:10,000 I eat murder. I talk murder. I dream murder. And for what? 71 00:04:10,000 --> 00:04:13,000 Every time I turn in a decent script, you chop the heart out of it. 72 00:04:13,000 --> 00:04:16,000 Your contract's up next week, Chris. 73 00:04:16,000 --> 00:04:19,000 You've got only one more script to do. 74 00:04:19,000 --> 00:04:20,000 Well, write it and get out. 75 00:04:20,000 --> 00:04:23,000 You'll get better than a script. You'll get everything you deserve. 76 00:04:23,000 --> 00:04:26,000 I'm going to show you what a real murder sounds like. 77 00:04:26,000 --> 00:04:29,000 I'm going to show you if I have to kill you to do it. 78 00:04:43,000 --> 00:04:45,000 Good evening. 79 00:04:45,000 --> 00:04:48,000 This is a recording of an actual murder. 80 00:04:48,000 --> 00:04:51,000 The first, as far as I know. 81 00:04:51,000 --> 00:04:55,000 Not written, not rehearsed, but well planned. 82 00:04:55,000 --> 00:04:59,000 It is respectfully dedicated to Mr. Ken Avery, 83 00:04:59,000 --> 00:05:04,000 editor and producer of the radio program, Murder Please. 84 00:05:04,000 --> 00:05:07,000 This is my last show, Mr. Avery. 85 00:05:07,000 --> 00:05:10,000 I'm delivering it to you in its entirety. 86 00:05:10,000 --> 00:05:12,000 Cast, music, everything. 87 00:05:12,000 --> 00:05:16,000 The events and persons are absolutely real. 88 00:05:16,000 --> 00:05:19,000 It's going to be a great show, Mr. Avery. 89 00:05:19,000 --> 00:05:22,000 You'll hear everything but the climax. 90 00:05:22,000 --> 00:05:25,000 I'm speaking into a microphone concealed in my desk, 91 00:05:25,000 --> 00:05:29,000 concealed with the other recording equipment I've rented for the occasion. 92 00:05:29,000 --> 00:05:34,000 The music you hear is coming from a high fidelity phonograph at my side. 93 00:05:34,000 --> 00:05:38,000 This program is produced, edited, directed, narrated, engineered, 94 00:05:38,000 --> 00:05:40,000 and plotted by Christopher Turner, 95 00:05:40,000 --> 00:05:45,000 whose only claim to immortality is this single half hour. 96 00:05:45,000 --> 00:05:49,000 And now, Mr. Avery, the leading characters in order of appearance. 97 00:05:49,000 --> 00:05:53,000 The murderer, Christopher Turner. 98 00:05:53,000 --> 00:05:57,000 The catalytic agent, your daughter Lois. 99 00:05:57,000 --> 00:06:01,000 The victim, yourself. 100 00:06:01,000 --> 00:06:04,000 And now, please to begin. 101 00:06:04,000 --> 00:06:12,000 Murder Please. 102 00:06:29,000 --> 00:06:30,000 Hello? 103 00:06:30,000 --> 00:06:34,000 Hello, Ken. This is Chris. 104 00:06:34,000 --> 00:06:38,000 I hate to bother you at home, but I wanted to apologize for the way I acted. 105 00:06:38,000 --> 00:06:40,000 Could you drop over to my office right away? 106 00:06:40,000 --> 00:06:42,000 Sorry, Chris. No go. 107 00:06:42,000 --> 00:06:45,000 I put up with your little insanities for two years now. 108 00:06:45,000 --> 00:06:47,000 Temper tantrums, insults, coming in stewed to the gills. 109 00:06:47,000 --> 00:06:49,000 Two years of that was plenty. 110 00:06:49,000 --> 00:06:51,000 I see. You won't change your mind. 111 00:06:51,000 --> 00:06:53,000 Not a chance. 112 00:06:53,000 --> 00:06:55,000 Maybe you can find somebody more patient than I am. 113 00:06:55,000 --> 00:06:56,000 Good luck. 114 00:06:56,000 --> 00:06:58,000 Thanks, Ken. 115 00:06:58,000 --> 00:07:00,000 Thanks a lot. 116 00:07:00,000 --> 00:07:04,000 Lovely opening scene, Mr. Avery. Thank you. 117 00:07:04,000 --> 00:07:07,000 You did exactly what I wanted you to do. 118 00:07:07,000 --> 00:07:10,000 You just threw away your last chance to save your life. 119 00:07:10,000 --> 00:07:13,000 Good work and excellent performance. 120 00:07:13,000 --> 00:07:16,000 Well, if you won't come up to my office by invitation, 121 00:07:16,000 --> 00:07:19,000 which I suspected you wouldn't, there's still another way. 122 00:07:19,000 --> 00:07:21,000 The telephone book. 123 00:07:21,000 --> 00:07:23,000 Listen, Mr. Avery. 124 00:07:23,000 --> 00:07:26,000 The sound of the flipping pages. 125 00:07:26,000 --> 00:07:29,000 Your daughter's phone number. 126 00:07:31,000 --> 00:07:33,000 Here we are. 127 00:07:48,000 --> 00:07:49,000 Hello? 128 00:07:49,000 --> 00:07:51,000 Hello, Lois. 129 00:07:51,000 --> 00:07:54,000 It's been a long time. Bet you don't even know who this is. 130 00:07:54,000 --> 00:07:56,000 I don't recognize the voice. 131 00:07:56,000 --> 00:07:58,000 This is Christopher Turner. 132 00:07:58,000 --> 00:08:00,000 Oh, sure, Mr. Turner. How are you? 133 00:08:00,000 --> 00:08:02,000 Fine, just fine. 134 00:08:02,000 --> 00:08:04,000 Well, how do you like living alone? 135 00:08:04,000 --> 00:08:06,000 It's all right, I guess. 136 00:08:06,000 --> 00:08:08,000 Rather be living with the folks? 137 00:08:08,000 --> 00:08:10,000 No. It's kind of independent this way. 138 00:08:10,000 --> 00:08:12,000 Yeah. How's the writing coming? 139 00:08:12,000 --> 00:08:15,000 Oh, not so good, Mr. Turner. 140 00:08:15,000 --> 00:08:19,000 I've written five scripts so far, and every one of them has been rejected. 141 00:08:19,000 --> 00:08:21,000 I don't know what's the matter. 142 00:08:21,000 --> 00:08:24,000 The problem is, your dad and I had a talk this afternoon about you. 143 00:08:24,000 --> 00:08:27,000 He thought maybe I could pass on a few tips. 144 00:08:27,000 --> 00:08:29,000 Oh, I wouldn't want to bother you. 145 00:08:29,000 --> 00:08:31,000 Oh, now, this isn't an obligation on my part, Lois. 146 00:08:31,000 --> 00:08:33,000 I like to help young people. 147 00:08:33,000 --> 00:08:35,000 Say, what are you doing this evening? 148 00:08:35,000 --> 00:08:36,000 Well... 149 00:08:36,000 --> 00:08:38,000 You see, here's the point, Lois. 150 00:08:38,000 --> 00:08:40,000 This is the only free night I'll have this week. 151 00:08:40,000 --> 00:08:42,000 Things are sort of piling up. 152 00:08:42,000 --> 00:08:44,000 And maybe you're doing some little thing with your writing 153 00:08:44,000 --> 00:08:46,000 that I could straighten out in an evening. 154 00:08:46,000 --> 00:08:48,000 Well, all right, Mr. Turner. 155 00:08:48,000 --> 00:08:50,000 Good. You know where my office is? 156 00:08:50,000 --> 00:08:53,000 Across from the broadcasting studios, the Brown building, room 208. 157 00:08:53,000 --> 00:08:55,000 I'll be right over. 158 00:08:55,000 --> 00:08:57,000 Fine. And bring your scripts with you, huh? 159 00:08:57,000 --> 00:08:59,000 I will. I certainly appreciate this. 160 00:08:59,000 --> 00:09:01,000 Not at all. Bye. 161 00:09:01,000 --> 00:09:03,000 Bye. 162 00:09:05,000 --> 00:09:08,000 I'll be right over and bring your scripts with you. 163 00:09:08,000 --> 00:09:11,000 I certainly appreciate this. Not at all. 164 00:09:12,000 --> 00:09:15,000 You see, that's how people talk, Mr. Avery. 165 00:09:15,000 --> 00:09:17,000 Let's see. What else? 166 00:09:17,000 --> 00:09:19,000 Oh, your sound. 167 00:09:19,000 --> 00:09:21,000 Draw opens. 168 00:09:21,000 --> 00:09:23,000 Gun taken out. 169 00:09:23,000 --> 00:09:25,000 Click of breach. 170 00:09:26,000 --> 00:09:28,000 Whirl of chamber. 171 00:09:29,000 --> 00:09:31,000 Bullets inserted in chamber. 172 00:09:32,000 --> 00:09:37,000 Three, four, five, six. 173 00:09:38,000 --> 00:09:40,000 Gun in drawer, drawer closed. 174 00:09:41,000 --> 00:09:43,000 And now we must wait. 175 00:09:45,000 --> 00:09:47,000 You see, Mr. Avery, 176 00:09:47,000 --> 00:09:49,000 fate is a better dramatist than either of us. 177 00:09:49,000 --> 00:09:52,000 Just when things start getting dull, the phone rings. 178 00:09:54,000 --> 00:09:55,000 Hello. 179 00:09:55,000 --> 00:09:57,000 Hello, Chris. Hank. 180 00:09:57,000 --> 00:09:58,000 Oh, what's up? 181 00:09:58,000 --> 00:10:01,000 I tried your place all night. I tried your sister's place. 182 00:10:01,000 --> 00:10:03,000 Finally, I called your office. 183 00:10:03,000 --> 00:10:05,000 I wouldn't let myself believe it, but here you are, 184 00:10:05,000 --> 00:10:07,000 slaving away for old man Avery again. 185 00:10:07,000 --> 00:10:10,000 Say, when are you going to tell him to go take a flying leap? 186 00:10:10,000 --> 00:10:12,000 I did that just today. 187 00:10:12,000 --> 00:10:13,000 No kidding? Yes. 188 00:10:13,000 --> 00:10:15,000 Well, congratulations. 189 00:10:15,000 --> 00:10:17,000 You've gone in nothing but bigger and better things. 190 00:10:17,000 --> 00:10:18,000 Yeah. 191 00:10:18,000 --> 00:10:21,000 Say, there's a rip-roaring poker game going on over here. 192 00:10:21,000 --> 00:10:23,000 Just room for one more sucker. What do you say? 193 00:10:23,000 --> 00:10:25,000 No, I can't tonight. I'm doing my last show. 194 00:10:25,000 --> 00:10:28,000 Oh, forget it for one night. Why don't you? 195 00:10:28,000 --> 00:10:29,000 Live a little. 196 00:10:29,000 --> 00:10:30,000 Thanks, Hank, but I can't. 197 00:10:30,000 --> 00:10:32,000 I'm coming over and get you away from that typewriter 198 00:10:32,000 --> 00:10:33,000 if I have to use force. 199 00:10:33,000 --> 00:10:35,000 No, I can't, Hank. The show's Sunday. 200 00:10:35,000 --> 00:10:37,000 Look, I got a script due tomorrow. 201 00:10:37,000 --> 00:10:39,000 You don't see me knocking myself out. Let him wait. 202 00:10:39,000 --> 00:10:42,000 Listen, Hank, you can't come over here. 203 00:10:42,000 --> 00:10:44,000 Don't you get it? 204 00:10:44,000 --> 00:10:47,000 Oh. Oh, I'm sorry, Chris. 205 00:10:47,000 --> 00:10:50,000 Honest. If I'd suspected. Sure thing. 206 00:10:50,000 --> 00:10:53,000 Well, take it easy. Call me for lunch or something. 207 00:10:53,000 --> 00:10:54,000 You bet. 208 00:10:54,000 --> 00:10:55,000 Sorry, boy. Bye. 209 00:10:55,000 --> 00:10:56,000 Bye. 210 00:10:56,000 --> 00:10:59,000 Phew. That was close. 211 00:10:59,000 --> 00:11:01,000 Good scene, though. 212 00:11:01,000 --> 00:11:05,000 Lois Avery is just driven up in front of the building. 213 00:11:05,000 --> 00:11:08,000 She's getting out of the car carrying her scripts. 214 00:11:08,000 --> 00:11:12,000 She wears a cardigan sweater, tweed skirt, flat shoes. 215 00:11:12,000 --> 00:11:15,000 She's young. She's very pretty. 216 00:11:15,000 --> 00:11:19,000 A girl with everything to live for. 217 00:11:19,000 --> 00:11:21,000 Now she's disappeared into the building 218 00:11:21,000 --> 00:11:24,000 in a moment of silence. 219 00:11:24,000 --> 00:11:26,000 She's gone. 220 00:11:26,000 --> 00:11:28,000 She's gone. 221 00:11:28,000 --> 00:11:31,000 Now she's disappeared into the building. 222 00:11:31,000 --> 00:11:34,000 In a moment, she'll knock on my door. 223 00:11:34,000 --> 00:11:39,000 And then you'll see for yourself how youth resists the threat of death. 224 00:11:39,000 --> 00:11:59,000 And this, Mr. Avery, would be the proper dramatic moment to end Act One. 225 00:11:59,000 --> 00:12:04,000 Auto Light is bringing you Mr. Richard Wittenmark in A Murderous Revision, 226 00:12:04,000 --> 00:12:10,000 tonight's production in radio's outstanding theater of thrills, Suspense. 227 00:12:22,000 --> 00:12:25,000 Hey, Hap, better turn on your lights. 228 00:12:25,000 --> 00:12:26,000 Rest doin' their own. 229 00:12:26,000 --> 00:12:29,000 Thank you. And thank Auto Light. 230 00:12:29,000 --> 00:12:30,000 Why, Harlow? 231 00:12:30,000 --> 00:12:34,000 Because in your Auto Light-equipped car, the lights as well as the power for your radio 232 00:12:34,000 --> 00:12:39,000 and power to crank your motor are all provided by the Auto Light Electrical System. 233 00:12:39,000 --> 00:12:41,000 It has to be good, huh, Harlow? 234 00:12:41,000 --> 00:12:44,000 You bet, Hap. And that's why complete Auto Light Electrical Systems are used 235 00:12:44,000 --> 00:12:49,000 as original factory equipment on many leading makes of our finest cars, trucks, and tractors. 236 00:12:49,000 --> 00:12:51,000 And that's good enough for me, Harlow. 237 00:12:51,000 --> 00:12:55,000 You bet it's good, Hap. And that's why it pays to treat your car's electrical system 238 00:12:55,000 --> 00:13:02,000 to a periodic checkup at your authorized Auto Light Service Station or the dealer who services your make of car. 239 00:13:02,000 --> 00:13:06,000 You can quickly locate your nearest authorized Auto Light Service Station 240 00:13:06,000 --> 00:13:09,000 in the classified section of your telephone directory, 241 00:13:09,000 --> 00:13:14,000 or by calling Western Union by number and asking for Operator 25. 242 00:13:14,000 --> 00:13:20,000 And remember, from bumper to tail light, you're always right with Auto Light. 243 00:13:20,000 --> 00:13:26,000 And now, Auto Light brings back to our Hollywood soundstage Mr. Richard Widmark 244 00:13:26,000 --> 00:13:31,000 in Elliot Lewis's production of A Murderous Revision, 245 00:13:31,000 --> 00:13:36,000 a tale well calculated to keep you in suspense. 246 00:13:36,000 --> 00:13:53,000 Act Two 247 00:13:53,000 --> 00:13:55,000 Act Two. 248 00:13:55,000 --> 00:13:59,000 This is Christopher Turner once again, Mr. Avery, bringing you by transcription 249 00:13:59,000 --> 00:14:04,000 the first recording of an actual murder ever made specifically for broadcast. 250 00:14:04,000 --> 00:14:07,000 The setting, my office. 251 00:14:07,000 --> 00:14:10,000 The music, recorded. 252 00:14:10,000 --> 00:14:14,000 The time, night. 253 00:14:14,000 --> 00:14:18,000 The victim, yourself. 254 00:14:18,000 --> 00:14:22,000 Your daughter has just entered the building. 255 00:14:22,000 --> 00:14:28,000 And so concludes the usual resume with which we begin the second act of every murder-please program. 256 00:14:28,000 --> 00:14:31,000 I hear footsteps in the hall. 257 00:14:31,000 --> 00:14:36,000 Your cue, Lewis. Sound, knock on door. 258 00:14:36,000 --> 00:14:38,000 Come in. 259 00:14:38,000 --> 00:14:40,000 Hi, Lewis. Come on in. 260 00:14:40,000 --> 00:14:42,000 Thanks. 261 00:14:42,000 --> 00:14:44,000 I brought the scripts with me. 262 00:14:44,000 --> 00:14:47,000 Wonderful, wonderful. Sit down. 263 00:14:47,000 --> 00:14:50,000 I hope I'm not putting you out. 264 00:14:50,000 --> 00:14:53,000 I always tell Dad to stop imposing on my behalf, but I guess he'll never learn. 265 00:14:53,000 --> 00:14:58,000 Now, look, you're here because I want you here for no other reason. 266 00:14:58,000 --> 00:14:59,000 Cigarette? 267 00:14:59,000 --> 00:15:02,000 This is a nice office. 268 00:15:02,000 --> 00:15:06,000 It serves. Just a hole in the wall, but quiet, nothing fancy. 269 00:15:06,000 --> 00:15:08,000 I like it. 270 00:15:08,000 --> 00:15:10,000 Well, how long have you been scribbling? 271 00:15:10,000 --> 00:15:13,000 Six months, Mr. Turner. 272 00:15:13,000 --> 00:15:16,000 Let's just make it crisp. 273 00:15:16,000 --> 00:15:17,000 What sort of things? 274 00:15:17,000 --> 00:15:21,000 Murder, mostly. Somebody told me that's what sells best. 275 00:15:21,000 --> 00:15:23,000 True, true. 276 00:15:23,000 --> 00:15:27,000 Well, let's just start talking about murder. 277 00:15:27,000 --> 00:15:30,000 Maybe something interesting will come up. 278 00:15:30,000 --> 00:15:32,000 Question number one. 279 00:15:32,000 --> 00:15:35,000 Why do you think people kill? 280 00:15:35,000 --> 00:15:38,000 Lots of reasons, I guess. 281 00:15:38,000 --> 00:15:42,000 Money, love, revenge. 282 00:15:42,000 --> 00:15:44,000 Not really. 283 00:15:44,000 --> 00:15:46,000 Only for survival. 284 00:15:46,000 --> 00:15:49,000 They kill for money only when money means life. 285 00:15:49,000 --> 00:15:51,000 Their idea of life. 286 00:15:51,000 --> 00:15:54,000 They only kill for love when life depends upon that love. 287 00:15:54,000 --> 00:15:58,000 They only kill for revenge when life is intolerable without it. 288 00:15:58,000 --> 00:16:00,000 You see? 289 00:16:00,000 --> 00:16:02,000 That's very interesting. 290 00:16:02,000 --> 00:16:03,000 Could you kill? 291 00:16:03,000 --> 00:16:05,000 I don't think so. 292 00:16:05,000 --> 00:16:07,000 Well, maybe you could. 293 00:16:07,000 --> 00:16:09,000 Here. 294 00:16:09,000 --> 00:16:10,000 See? 295 00:16:10,000 --> 00:16:11,000 A gun. 296 00:16:11,000 --> 00:16:13,000 And loaded. 297 00:16:13,000 --> 00:16:14,000 Please put it away. 298 00:16:14,000 --> 00:16:15,000 Take it. 299 00:16:15,000 --> 00:16:16,000 No, I'd rather not. 300 00:16:16,000 --> 00:16:18,000 It's very obedient. It won't fire unless you press the trigger. 301 00:16:18,000 --> 00:16:20,000 Take it. 302 00:16:20,000 --> 00:16:22,000 That's it. 303 00:16:22,000 --> 00:16:23,000 Now point it at me. 304 00:16:23,000 --> 00:16:24,000 Please, I... 305 00:16:24,000 --> 00:16:25,000 Think now. 306 00:16:25,000 --> 00:16:26,000 Think. 307 00:16:26,000 --> 00:16:28,000 One touch of your finger and you kill me. 308 00:16:28,000 --> 00:16:30,000 One little touch. 309 00:16:30,000 --> 00:16:33,000 A very delicate instrument to trigger. 310 00:16:33,000 --> 00:16:35,000 There's a sense of power there. 311 00:16:35,000 --> 00:16:36,000 You feel it? 312 00:16:36,000 --> 00:16:37,000 I'm afraid. 313 00:16:37,000 --> 00:16:39,000 Fear, yes, but exhilaration too. 314 00:16:39,000 --> 00:16:41,000 Like the second drink. 315 00:16:41,000 --> 00:16:43,000 I feel it, yes. 316 00:16:43,000 --> 00:16:45,000 All right. 317 00:16:45,000 --> 00:16:47,000 You can give it back to me now. 318 00:16:47,000 --> 00:16:50,000 Well, so much for the murderer. 319 00:16:50,000 --> 00:16:53,000 Now, what about the victim? 320 00:16:53,000 --> 00:16:55,000 Afraid of death? 321 00:16:55,000 --> 00:16:57,000 Sometimes. 322 00:16:57,000 --> 00:16:59,000 What is death to you? 323 00:16:59,000 --> 00:17:01,000 Death? 324 00:17:01,000 --> 00:17:02,000 I don't know. 325 00:17:02,000 --> 00:17:05,000 No idea? 326 00:17:05,000 --> 00:17:07,000 Emptiness. 327 00:17:07,000 --> 00:17:09,000 Blackness. 328 00:17:09,000 --> 00:17:10,000 Nothing. 329 00:17:10,000 --> 00:17:12,000 Is that so terrible? 330 00:17:12,000 --> 00:17:14,000 Yes, because you really don't know. 331 00:17:14,000 --> 00:17:15,000 Like the dark. 332 00:17:15,000 --> 00:17:17,000 That's it. 333 00:17:17,000 --> 00:17:20,000 Do you know any more about death than you do about me? 334 00:17:20,000 --> 00:17:21,000 You? 335 00:17:21,000 --> 00:17:22,000 Yeah. 336 00:17:22,000 --> 00:17:24,000 Well, I know you work for Dad. 337 00:17:24,000 --> 00:17:26,000 Yes, but you've never even spent one hour with me. 338 00:17:26,000 --> 00:17:29,000 Once at lunch, you and your father sat down with me. 339 00:17:29,000 --> 00:17:31,000 Yet you come up here alone. 340 00:17:31,000 --> 00:17:33,000 How do you know you can trust me? 341 00:17:33,000 --> 00:17:35,000 I suppose I don't, really. 342 00:17:35,000 --> 00:17:37,000 Look at this. 343 00:17:37,000 --> 00:17:38,000 Please put it down. 344 00:17:38,000 --> 00:17:40,000 It makes me terribly nervous. 345 00:17:40,000 --> 00:17:41,000 Do you have any money? 346 00:17:41,000 --> 00:17:42,000 A little. 347 00:17:42,000 --> 00:17:43,000 How much? 348 00:17:43,000 --> 00:17:44,000 Ten dollars, maybe, some change. 349 00:17:44,000 --> 00:17:47,000 Give it to me. 350 00:17:47,000 --> 00:17:48,000 Here. 351 00:17:48,000 --> 00:17:50,000 Why did you give me the money? 352 00:17:50,000 --> 00:17:52,000 Because you asked me for it. 353 00:17:52,000 --> 00:17:55,000 No, because you were hoping I'd put down the gun. 354 00:17:55,000 --> 00:17:59,000 And if I'd said, a kiss, one kiss, and I'll put down the gun, 355 00:17:59,000 --> 00:18:01,000 what would you do? 356 00:18:01,000 --> 00:18:03,000 I suppose I... 357 00:18:03,000 --> 00:18:04,000 I suppose I'd give it... 358 00:18:04,000 --> 00:18:07,000 But a kiss, that would be harder to give, wouldn't it? 359 00:18:07,000 --> 00:18:09,000 Yes. 360 00:18:09,000 --> 00:18:13,000 Kiss me. 361 00:18:13,000 --> 00:18:15,000 There. 362 00:18:15,000 --> 00:18:16,000 Thank you. 363 00:18:16,000 --> 00:18:19,000 Now put down the gun, please. 364 00:18:19,000 --> 00:18:22,000 I know it's a lesson in writing and all that, but it scares me. 365 00:18:22,000 --> 00:18:23,000 No. 366 00:18:23,000 --> 00:18:24,000 But you said you would. 367 00:18:24,000 --> 00:18:26,000 I said nothing of the kind. 368 00:18:26,000 --> 00:18:29,000 And if I had said it, you'd have been foolish to believe me. 369 00:18:29,000 --> 00:18:32,000 You can't trust a man with a gun. 370 00:18:32,000 --> 00:18:34,000 You feel helpless, don't you? 371 00:18:34,000 --> 00:18:35,000 Yes. 372 00:18:35,000 --> 00:18:37,000 While you could give me money, there was hope. 373 00:18:37,000 --> 00:18:39,000 While you could give me love, there was hope. 374 00:18:39,000 --> 00:18:42,000 But if all I wanted was revenge, 375 00:18:42,000 --> 00:18:45,000 there'd be nothing you could do to save yourself. 376 00:18:45,000 --> 00:18:46,000 Nothing. 377 00:18:46,000 --> 00:18:48,000 And if I told you that right now, right this moment, 378 00:18:48,000 --> 00:18:51,000 I'm gonna pull this trigger and blow you to bits, 379 00:18:51,000 --> 00:18:53,000 tell me, what would you say? 380 00:18:53,000 --> 00:18:55,000 I'd try to talk you out of it. 381 00:18:55,000 --> 00:18:56,000 What would you say? 382 00:18:56,000 --> 00:18:58,000 I wouldn't know what to say. 383 00:18:58,000 --> 00:19:00,000 Then I'd shoot. 384 00:19:00,000 --> 00:19:02,000 I'd tell you about the electric chair. 385 00:19:02,000 --> 00:19:04,000 Very little threat to a man about to kill. 386 00:19:04,000 --> 00:19:06,000 Later, maybe, when he's running away, 387 00:19:06,000 --> 00:19:08,000 then he'd think about consequences, but not now. 388 00:19:08,000 --> 00:19:10,000 Now it's only kill. 389 00:19:10,000 --> 00:19:12,000 Now what else, what else would you say? 390 00:19:12,000 --> 00:19:13,000 I'd beg him. 391 00:19:13,000 --> 00:19:15,000 He wouldn't listen. 392 00:19:15,000 --> 00:19:16,000 I'd plead with him. 393 00:19:16,000 --> 00:19:18,000 I'd say, please don't kill me. 394 00:19:18,000 --> 00:19:22,000 And if he still wouldn't listen? 395 00:19:22,000 --> 00:19:26,000 Then I'd die. 396 00:19:26,000 --> 00:19:40,000 Hello. 397 00:19:40,000 --> 00:19:42,000 Bet you don't know who this is. 398 00:19:42,000 --> 00:19:44,000 I can't place the voice. 399 00:19:44,000 --> 00:19:45,000 Try. 400 00:19:45,000 --> 00:19:47,000 I haven't the slightest idea. 401 00:19:47,000 --> 00:19:50,000 Remember San Francisco and the Italian pizza 402 00:19:50,000 --> 00:19:52,000 and the cigarette holder? 403 00:19:52,000 --> 00:19:55,000 Vaguely. Who is this? I hate guessing games. 404 00:19:55,000 --> 00:19:56,000 Harriet. 405 00:19:56,000 --> 00:19:58,000 I know at least 18 Harriots. 406 00:19:58,000 --> 00:19:59,000 Harriet who? 407 00:19:59,000 --> 00:20:00,000 Crawford. 408 00:20:00,000 --> 00:20:01,000 Oh. 409 00:20:01,000 --> 00:20:02,000 I just came in. 410 00:20:02,000 --> 00:20:04,000 I thought maybe you could meet me for a drink. 411 00:20:04,000 --> 00:20:07,000 I don't know a single solitary soul in town. 412 00:20:07,000 --> 00:20:09,000 How did you happen to call here? 413 00:20:09,000 --> 00:20:11,000 I shouldn't tell, I suppose, but Hank said 414 00:20:11,000 --> 00:20:12,000 you were working late at the office. 415 00:20:12,000 --> 00:20:13,000 Hank, huh? 416 00:20:13,000 --> 00:20:15,000 He gave me the number and said to be sure to call. 417 00:20:15,000 --> 00:20:16,000 Bless his heart. 418 00:20:16,000 --> 00:20:17,000 What was that? 419 00:20:17,000 --> 00:20:20,000 I said, bless his heart. 420 00:20:20,000 --> 00:20:22,000 Yeah. 421 00:20:22,000 --> 00:20:23,000 Well, I'll call you tomorrow. 422 00:20:23,000 --> 00:20:25,000 Yeah, you do that. 423 00:20:25,000 --> 00:20:28,000 Well, bye. 424 00:20:28,000 --> 00:20:30,000 I guess I'd better get going. 425 00:20:30,000 --> 00:20:32,000 Why? We're not even started yet. 426 00:20:32,000 --> 00:20:35,000 Well, if you don't put down that gun, I'm going. 427 00:20:35,000 --> 00:20:36,000 I don't like it. 428 00:20:36,000 --> 00:20:37,000 Sit down. 429 00:20:37,000 --> 00:20:39,000 I want to tell you a story. 430 00:20:39,000 --> 00:20:40,000 Now listen. 431 00:20:40,000 --> 00:20:41,000 Please. 432 00:20:41,000 --> 00:20:45,000 Please sit down. 433 00:20:45,000 --> 00:20:47,000 Now, now this is just a sample plot. 434 00:20:47,000 --> 00:20:50,000 You can have it if you want it. 435 00:20:50,000 --> 00:20:52,000 It's about a writer who had great novels in him, 436 00:20:52,000 --> 00:20:57,000 great plays, but he was broke. 437 00:20:57,000 --> 00:21:00,000 So for the sake of a place to stay and a meal to eat, 438 00:21:00,000 --> 00:21:03,000 he started turning out radio mysteries. 439 00:21:03,000 --> 00:21:06,000 He turned them out until every drop of originality 440 00:21:06,000 --> 00:21:08,000 was squeezed out of him. 441 00:21:08,000 --> 00:21:11,000 And all the greatness he might have been ate into him 442 00:21:11,000 --> 00:21:13,000 because he'd leave nothing to the world, 443 00:21:13,000 --> 00:21:15,000 nothing but scripts to be swept up by studio janitors 444 00:21:15,000 --> 00:21:18,000 after the broadcast. 445 00:21:18,000 --> 00:21:22,000 Well, the writer made his decision one day. 446 00:21:22,000 --> 00:21:24,000 He'd do a last radio play, 447 00:21:24,000 --> 00:21:26,000 a radio play with an actual murder, 448 00:21:26,000 --> 00:21:30,000 the only chance he had for permanent survival. 449 00:21:30,000 --> 00:21:32,000 And he selected as his victim the man who would 450 00:21:32,000 --> 00:21:35,000 ground him into the dust. 451 00:21:35,000 --> 00:21:38,000 He selected his editor and producer, Ken Avery. 452 00:21:38,000 --> 00:21:39,000 Please. 453 00:21:39,000 --> 00:21:40,000 I like you. 454 00:21:40,000 --> 00:21:43,000 I like you very much. 455 00:21:43,000 --> 00:21:48,000 I wish this could be happening to almost anyone but you. 456 00:21:48,000 --> 00:21:49,000 Get to the phone. 457 00:21:49,000 --> 00:21:50,000 What? 458 00:21:50,000 --> 00:21:51,000 The telephone. 459 00:21:51,000 --> 00:21:52,000 What for? 460 00:21:52,000 --> 00:21:53,000 You're going to call your father. 461 00:21:53,000 --> 00:21:54,000 No. 462 00:21:54,000 --> 00:21:55,000 No, I won't do it. 463 00:21:55,000 --> 00:21:57,000 You'll call your father and you'll tell him 464 00:21:57,000 --> 00:21:59,000 to come up to my office. 465 00:21:59,000 --> 00:22:01,000 Now pick up the receiver. 466 00:22:01,000 --> 00:22:02,000 No, wait. 467 00:22:02,000 --> 00:22:11,000 I'll do it. 468 00:22:11,000 --> 00:22:12,000 Now take the phone. 469 00:22:12,000 --> 00:22:13,000 Tell him. 470 00:22:13,000 --> 00:22:14,000 It's ringing. 471 00:22:14,000 --> 00:22:15,000 Take it. 472 00:22:15,000 --> 00:22:16,000 Hello? 473 00:22:16,000 --> 00:22:17,000 Hello? 474 00:22:17,000 --> 00:22:18,000 Dad? 475 00:22:18,000 --> 00:22:19,000 Lois? 476 00:22:19,000 --> 00:22:20,000 Lois, what are you calling this time of night for? 477 00:22:20,000 --> 00:22:21,000 Something the matter? 478 00:22:21,000 --> 00:22:22,000 No, nothing. 479 00:22:22,000 --> 00:22:23,000 You want him to take you home and you don't feel well. 480 00:22:23,000 --> 00:22:24,000 Lois, something's the matter. 481 00:22:24,000 --> 00:22:25,000 Where are you? 482 00:22:25,000 --> 00:22:26,000 You home? 483 00:22:26,000 --> 00:22:27,000 No, I'm at Mr. Turner's. 484 00:22:27,000 --> 00:22:28,000 Turner's? 485 00:22:28,000 --> 00:22:29,000 His apartment? 486 00:22:29,000 --> 00:22:30,000 No, I'm at his apartment. 487 00:22:30,000 --> 00:22:45,000 His office. 488 00:22:45,000 --> 00:22:46,000 I don't feel very well. 489 00:22:46,000 --> 00:22:47,000 Come and take me home. 490 00:22:47,000 --> 00:22:51,000 Come and take me home. 491 00:22:51,000 --> 00:22:52,000 I don't feel well. 492 00:22:52,000 --> 00:22:54,000 Here, give me the phone. 493 00:22:54,000 --> 00:22:55,000 Hello, Ken. 494 00:22:55,000 --> 00:22:56,000 Yes, Chris? 495 00:22:56,000 --> 00:22:59,000 Yeah, Lois came up tonight to discuss some scripts she wrote, 496 00:22:59,000 --> 00:23:00,000 but she doesn't feel very well. 497 00:23:00,000 --> 00:23:01,000 You better come and get her. 498 00:23:01,000 --> 00:23:02,000 I'll be right over. 499 00:23:02,000 --> 00:23:03,000 Sit down. 500 00:23:03,000 --> 00:23:06,000 We haven't got very long to wait. 501 00:23:06,000 --> 00:23:15,000 Twenty minutes have gone by. 502 00:23:15,000 --> 00:23:20,000 I hear the steps in the hall. 503 00:23:20,000 --> 00:23:24,000 The sure plodding steps of her father, Mr. Ken Avery. 504 00:23:24,000 --> 00:23:28,000 The climax, ladies and gentlemen, of the listening audience I address to you. 505 00:23:28,000 --> 00:23:33,000 Mr. Avery will never hear this portion of the entertainment. 506 00:23:33,000 --> 00:23:35,000 Come in. 507 00:23:35,000 --> 00:23:37,000 Lois, are you? 508 00:23:37,000 --> 00:23:39,000 What is this? 509 00:23:39,000 --> 00:23:40,000 Sit down. 510 00:23:40,000 --> 00:23:42,000 There's a chair reserved for you. 511 00:23:42,000 --> 00:23:44,000 Lois, what's been going on here? 512 00:23:44,000 --> 00:23:45,000 Tell him, Lois. 513 00:23:45,000 --> 00:23:47,000 He's going to kill you. 514 00:23:47,000 --> 00:23:49,000 He's going to kill both of us. 515 00:23:49,000 --> 00:23:50,000 Close the door. 516 00:23:50,000 --> 00:23:53,000 Chris, put that thing down. 517 00:23:53,000 --> 00:23:55,000 Somebody's liable to get hurt. 518 00:23:55,000 --> 00:23:56,000 What's the matter with you? 519 00:23:56,000 --> 00:23:57,000 Drinking again? 520 00:23:57,000 --> 00:23:58,000 Nothing to drink. 521 00:23:58,000 --> 00:23:59,000 Very sober. 522 00:23:59,000 --> 00:24:00,000 Sit down. 523 00:24:00,000 --> 00:24:02,000 Chris, are you crazy? 524 00:24:02,000 --> 00:24:03,000 Good line. 525 00:24:03,000 --> 00:24:04,000 Perfectly in character. 526 00:24:04,000 --> 00:24:07,000 The inane cliché from the mouth of the great producer. 527 00:24:07,000 --> 00:24:10,000 You see, Ken, everything is being recorded right now. 528 00:24:10,000 --> 00:24:12,000 Your voice, Lois's mine. 529 00:24:12,000 --> 00:24:13,000 Sit down. 530 00:24:13,000 --> 00:24:14,000 Recorded for what? 531 00:24:14,000 --> 00:24:17,000 For posterity for the show next week. 532 00:24:17,000 --> 00:24:21,000 You'll have the honor of appearing on your own program as the murder victim. 533 00:24:21,000 --> 00:24:22,000 Here, let me show you. 534 00:24:22,000 --> 00:24:25,000 Right here in the desk. 535 00:24:25,000 --> 00:24:28,000 You see, it's a recording machine. 536 00:24:28,000 --> 00:24:30,000 I've stopwatched every second. 537 00:24:30,000 --> 00:24:32,000 It's been running exactly 25 minutes. 538 00:24:32,000 --> 00:24:35,000 You always made it a rule to plan the climax for 2630 539 00:24:35,000 --> 00:24:37,000 so you could have room for a final commercial. 540 00:24:37,000 --> 00:24:39,000 Well, that's just what I'm doing. 541 00:24:39,000 --> 00:24:44,000 According to my timing, you have about one minute and 30 seconds to live. 542 00:24:44,000 --> 00:24:47,000 All right, Chris, that's enough of the phony dramatics. 543 00:24:47,000 --> 00:24:49,000 Now, give me that thing before somebody gets hurt. 544 00:24:49,000 --> 00:24:50,000 Stand back. 545 00:24:50,000 --> 00:24:53,000 I wouldn't want to mistime the climax of the show. 546 00:24:53,000 --> 00:24:54,000 This won't make a show. 547 00:24:54,000 --> 00:24:58,000 You won't have much editorial power, Mr. Avery, after a few seconds. 548 00:24:58,000 --> 00:25:01,000 There's the agency. They wouldn't put this thing on the air. 549 00:25:01,000 --> 00:25:02,000 No, why not? 550 00:25:02,000 --> 00:25:04,000 You planned to kill me. 551 00:25:04,000 --> 00:25:05,000 From the beginning. 552 00:25:05,000 --> 00:25:08,000 There's the trouble right there, Chris. There's no twist. 553 00:25:08,000 --> 00:25:10,000 Oh, yes, the twist. 554 00:25:10,000 --> 00:25:12,000 Right, the surprise ending. 555 00:25:12,000 --> 00:25:15,000 You told the audience to expect the murder to be successful. 556 00:25:15,000 --> 00:25:19,000 Our shows have to have some kind of surprise for the audience, Chris. 557 00:25:19,000 --> 00:25:20,000 You know that. 558 00:25:20,000 --> 00:25:21,000 Where's the twist? 559 00:25:21,000 --> 00:25:24,000 Still the editor right to death's door. 560 00:25:24,000 --> 00:25:29,000 All right, Ken, perhaps you can provide the surprise ending that's going to save your life. 561 00:25:29,000 --> 00:25:30,000 I don't have to. 562 00:25:30,000 --> 00:25:31,000 Oh? 563 00:25:31,000 --> 00:25:33,000 You provided the twist yourself, but you didn't know it. 564 00:25:33,000 --> 00:25:36,000 And yet the twist was part of the story all the time. 565 00:25:36,000 --> 00:25:38,000 Where, Mr. Editor Avery? 566 00:25:38,000 --> 00:25:40,000 You, you, Chris, you're the twist. 567 00:25:40,000 --> 00:25:41,000 Me? 568 00:25:41,000 --> 00:25:43,000 That's right. You're a flop, Chris. 569 00:25:43,000 --> 00:25:48,000 You're so used to dreaming on paper you can't live anymore. 570 00:25:48,000 --> 00:25:50,000 You wrote about love because you never had it. 571 00:25:50,000 --> 00:25:53,000 You wrote about fortunes and you're still two bits. 572 00:25:53,000 --> 00:25:57,000 You wrote about murder, but you, you haven't got the guts to pull the trigger. 573 00:25:57,000 --> 00:25:59,000 Now give me that gun. 574 00:25:59,000 --> 00:26:00,000 You think I won't shoot? 575 00:26:00,000 --> 00:26:02,000 I know you won't. 576 00:26:02,000 --> 00:26:04,000 Give me that gun, you hack. 577 00:26:04,000 --> 00:26:05,000 What did you say? 578 00:26:05,000 --> 00:26:06,000 I said you were a hack. Now give me that gun. 579 00:26:06,000 --> 00:26:07,000 Stay away! 580 00:26:07,000 --> 00:26:08,000 Give me that gun, you hack! 581 00:26:08,000 --> 00:26:09,000 No, I'm not! 582 00:26:09,000 --> 00:26:10,000 Dad! 583 00:26:10,000 --> 00:26:12,000 Let go! Let go of my hand! 584 00:26:12,000 --> 00:26:13,000 Grab it, I said! Grab it! 585 00:26:13,000 --> 00:26:14,000 Let go! 586 00:26:18,000 --> 00:26:19,000 Chris. 587 00:26:19,000 --> 00:26:20,000 Chris! 588 00:26:24,000 --> 00:26:30,000 Do you always like to change the ending? 589 00:26:31,000 --> 00:26:32,000 Dad. 590 00:26:33,000 --> 00:26:34,000 It's all right, Lois. 591 00:26:35,000 --> 00:26:37,000 Dad, take me home. 592 00:26:37,000 --> 00:26:40,000 The records. They're all we have to clear us. 593 00:26:40,000 --> 00:26:42,000 Take me home, please. 594 00:26:42,000 --> 00:26:45,000 As soon as I see what's on those records. 595 00:26:45,000 --> 00:26:49,000 Oh, this must be part one. 596 00:26:50,000 --> 00:26:51,000 Let's see. 597 00:26:59,000 --> 00:27:00,000 Good evening. 598 00:27:01,000 --> 00:27:04,000 This is a recording of an actual murder. 599 00:27:04,000 --> 00:27:06,000 The first, as far as I know. 600 00:27:06,000 --> 00:27:28,000 Not written, not rehearsed. 601 00:27:30,000 --> 00:27:32,000 Suspense. 602 00:27:32,000 --> 00:27:36,000 Presented by Auto Light, Tonight Star, Mr. Richard Widmark. 603 00:27:37,000 --> 00:27:45,000 Friends, this is Harlow Wilcox again to remind you that Auto Light is the world's largest independent manufacturer of automotive electrical equipment. 604 00:27:45,000 --> 00:27:52,000 In 28 plants from coast to coast, Auto Light makes over 400 products for cars, trucks, tractors, planes, and boats. 605 00:27:52,000 --> 00:28:00,000 These include complete electrical systems, a complete line of ignition engineered Auto Light spark plugs, both standard and resistor types. 606 00:28:00,000 --> 00:28:04,000 Auto Light batteries, including the famous Auto Light Stay Full. 607 00:28:04,000 --> 00:28:11,000 Auto Light also makes automotive wire and cable, bumpers and hubcaps, electric windshield wipers, and many more. 608 00:28:11,000 --> 00:28:18,000 All are backed by constant Auto Light research and are precision built to highest standards of quality and performance. 609 00:28:18,000 --> 00:28:23,000 So remember, from bumper to tail light, you're always right with Auto Light. 610 00:28:23,000 --> 00:28:29,000 Next week on Suspense, our star will be Mr. Victor Matur as a man who made his living as an assassin. 611 00:28:29,000 --> 00:28:32,000 A tale we call Black Jack to Kill. 612 00:28:32,000 --> 00:28:40,000 In weeks to come, we shall also present Mr. John Hodiac and Mr. Herbert Marshall, all on Suspense. 613 00:28:42,000 --> 00:28:49,000 Suspense is produced and transcribed by Elliot Lewis, with music composed by Lucian Morawick and conducted by Lutte Gluskin. 614 00:28:49,000 --> 00:28:55,000 A murderous revision was adapted for Suspense by David Ellis from a story of S. Lee Pagostin. 615 00:28:55,000 --> 00:29:03,000 In tonight's story, Kathy Lewis was heard as Lois, Joseph Kearns as Ken, Charlotte Lawrence as Harriet, and Jerry Hausner as Hank. 616 00:29:03,000 --> 00:29:09,000 Tonight's appearance of Richard Widmark was made possible through the kind permission of 20th Century Fox Studios. 617 00:29:09,000 --> 00:29:14,000 Mr. Widmark may soon be seen in the Technicolor production, Red Skies of Montana. 618 00:29:16,000 --> 00:29:21,000 For the location of your nearest Auto Light service station or your nearest Auto Light spark plug or battery dealer, 619 00:29:21,000 --> 00:29:27,000 phone Western Union by number and ask for operator 25. Switch to Auto Light. Good night. 620 00:29:27,000 --> 00:29:55,000 This is the CBS Radio Network.