WEBVTT

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Auto Light and its 98,000 dealers bring you Mr. Richard Widmark in tonight's presentation

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of Suspense.

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Tonight, Auto Light presents the true story of a world of the dead.

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It's the documented account of one man left alone on a tiny Pacific island, a wasteland

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of no living thing, an island made of a three square miles of fear.

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The story is called, How Long is the Night?

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Our star, Richard Widmark.

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Hello, Mr. Wilcox.

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Well, frost my beard and call me Winter if it's not Johnny Plugcheck.

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Yep, I'm here again, and you know what that means.

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I sure do, Johnny.

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It means I start reminding motorists to winterize, get their cars tuned up, get a change of oil

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and grease, put in antifreeze.

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And check those spark plugs too.

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Right, Johnny Plugcheck, because spark plugs are the very heart of a car's ignition system.

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And when they're right, your chances for starting even in the coldest weather are better than

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ever.

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So, with cold driving days ahead, visit your nearest Auto Light spark plug dealer.

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If replacements are needed, he'll recommend those world famous ignition engineered Auto

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Light spark plugs, either standard or resistor type.

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To quickly learn the location of your nearest Auto Light spark plug dealer, phone Western

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Union by number and ask for operator 25.

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And remember, from bumper to tail light, you're always right with Auto Light.

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And now, Auto Light presents transcribed, How Long is the Night?

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A true story starring Mr. Richard Widmark and hoping once again to keep you in suspense.

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It was no different than any other night.

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It was hot.

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The same warm wind blew up from the south end of the island.

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Along the west beach, a line of dirty white foam spread out where the breakers came up

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on the sand.

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The moon had already gone down.

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Across the lagoon, there was nothing.

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No lights, no sounds.

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It was the same as the day before.

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The same smell hanging over the water and the land.

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The smell of a world gone dead.

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They came and woke us up a few minutes before 3 a.m.

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The three of us got dressed and they gave us breakfast.

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We checked our equipment, then we took our positions with the other men.

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We wore protective helmets with specially treated linings.

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Over the eyes, a pair of heavy duty goggles, jackets, trousers, gloves, all specially treated

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for protection.

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Our boots were spread with linings of lead.

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We waited.

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The dawn came up fast.

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I think it was about 5.30.

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We kept watching the horizon over the east, a faint outline of an island.

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The warnings began to come in over the earphones.

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Bomber Boy One.

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Bomber Boy One.

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Two minutes before actual time.

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Mark.

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Two minutes before actual time.

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Mark.

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Two minutes before actual time.

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Adjust all goggles.

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Adjust all goggles.

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Standby.

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The month was May.

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It was beautiful.

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I took one more look before I strapped on the goggles.

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The blue water of the Pacific.

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The green islands near and in the distance.

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The islands of Enuitak.

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The month was May.

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A piece of the earth was getting ready to die.

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Bomber Boy One.

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Bomber Boy One.

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One minute before actual time.

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Mark.

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One minute before actual time.

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Standby.

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A single bird passed overhead pointing for the horizon.

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There was the faint barking of a dog.

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Then it was quiet.

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Bomber Boy One.

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Thirty seconds before actual time.

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Mark.

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Thirty seconds before actual time.

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We waited for the split second.

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We waited for the sound of it.

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Bomber Boy One.

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Fifteen seconds before actual time.

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Standby.

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Ten seconds.

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Ten seconds.

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Ten seconds.

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Ten seconds.

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Ten seconds.

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Ten seconds.

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Ten seconds.

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Ten seconds.

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Ten seconds.

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Five seconds.

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Four.

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Three.

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Two.

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One.

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This was an emergency.

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This was an emergency.

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One.

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We stood and we watched.

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The huge body of the ocean heaved and shuddered.

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The island shook.

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The sky seemed to fill to the bursting point.

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We knew what it was like.

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The most powerful atomic bomb yet conceived.

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The man next to me turned and stared. His mouth was open.

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There was only one thing to say.

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He said it.

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Warner?

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Warner?

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Yeah.

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Dear God.

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Dear God.

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That was the first one, but there were others.

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Our job was to photograph the results, everything.

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The tests ran into weeks, months.

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The islands of N.O.E.T.O.C. became a chain of black ruins,

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each of them festering with deadly radiation.

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After each explosion, we landed on the islands in the target area

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to photograph the remains.

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We got a first-hand look.

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It stayed with us.

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On the last day, I had two men working the cameras with me,

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Joe Harrison, Bert Pichelli, both good men.

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I couldn't blame either one of them. It just happened.

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Don't take any chances, Warner. Be careful.

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Yes, sir. Goodbye, sir. See you at Pearl.

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Joe, Bert.

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All right?

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Yeah, I'm okay.

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All right.

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Let her go.

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What about the old man?

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Nothing, Joe.

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Told me to remind you to be careful. Don't take any chances.

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Not as long as I'm in this neighborhood.

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Had them bombs. Who needs them?

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Quit moaning. You got them.

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You check our Geiger counters this morning, Bert?

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Yeah, good shape.

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Brought the extra camera, too, just in case.

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Hey, have a look.

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What?

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Ship pulling out over there.

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Kind of lonesome, huh?

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We'll be gone in the morning.

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You warn her?

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Yeah.

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What are they gonna do?

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Gonna leave anybody around at all after we take off?

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I suppose so, the Marine Guard.

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Why?

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Nothing, just wondering.

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Even the water looks bad.

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They'll pop stuff in it to bring it to a boil.

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What do you think, Warner?

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You figure the natives will ever be able to come back?

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I suppose so. 10, 20 years, maybe.

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What would they live on?

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I mean, the islands recovered already.

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Couldn't even find one green plant left.

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Everything burned to the roots. How would they live?

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Take it to the chaplain, Bert. I only work here.

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Dead land, dead water, nothing.

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Give it time, probably, whereof.

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That's the point.

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What?

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What happens if it doesn't?

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That's the last thing I can tell you from memory.

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What was said, what was done.

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The rest of it's just as I put it down in a log.

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The last trip.

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Island 27.

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It's a few minutes past 1200.

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We've just landed at transfer point C.

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Most of the men have left here already.

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Skeleton crew standing by.

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There's one LST left at the landing pier.

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Harrison, Pichelli and I move our camera equipment on board.

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12, 20.

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We clear the reef and head north for Island 27.

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Weather overcast.

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Hey, that's it ahead, isn't it? 27?

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Uh-huh.

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Joe, want to take her a couple of points starboard?

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We'll put her right up there, ahead of the beach.

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Okay.

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These tough short-take their time.

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Too bad the plane couldn't have brought us in closer.

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Well, they still need landing strips.

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Brought us as far as they could.

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Hey, Warner.

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Yeah?

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This is number 27.

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I thought it was on the fringe of the blast area.

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That's the way I get it. Why?

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Try your Geiger counter.

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Kicking up?

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You ever listen?

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Yeah.

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How about that?

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Warm goes for a fringe area.

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Well, you got fair warning.

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As soon as we land, keep moving.

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Don't waste any time. Make it go as fast as you can.

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How about your sidearms? You can't team.

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All okay. I'm set.

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Yeah, same here.

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With any kind of luck, we'll be back at the base for supper.

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All right, Joe. Hold it steady.

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Right.

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What's the matter? You look worried.

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I'm not worried.

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Is this another island?

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I'll feel better when we're leaving.

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Hey, take it easy.

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Won't hurt a bit.

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That's what they told them at Hiroshima.

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1335.

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We've landed on Island 27.

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It's about a mile wide, two and a half, three miles long.

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It's like a dozen other islands we've covered in the test area.

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The same smell of death and dying.

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As usual, our lives depend on our Geiger counters.

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They measure the radioactivity bombarding us

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as we move through the contaminated area.

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When the clicking sound is slow, the load is heavy.

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We're going to have to move the radioactivity

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into the contaminated area.

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When the clicking sound is slow, the location is fairly safe.

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When it speeds up, it means the radiation is getting intense.

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Soon as we landed on the beach, my counters started turning over.

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We keep moving.

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The beach is littered with the remains of birds and fish,

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the life scorched out of them.

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The sand is burned jet black.

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There's no breeze.

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The sky is still overcast.

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We're moving only once to lay out a plan of operation.

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What do you think? How do you want to cover it?

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Joe, you take the upper end of the island,

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cover everything down to that first inlet there.

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See what I mean? Yeah, okay.

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Bert, you cover from the inlet down to here, okay?

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Right.

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I'll work everything from here down to the lower end.

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Now keep moving, but don't rush it.

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And try and keep in sight as much as possible.

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If anything happens, if you need help, fire your sidearms.

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Two shots, got it? Sure, right.

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1340.

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We've started photographing the island.

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Each of us carry three cameras, 35 millimeter black and white,

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16 millimeter for color,

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a four by five graflex for the still shots.

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It's getting warmer. The overcast is starting to lift.

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In the sunlight, the island looks even worse, what's left of it.

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As far as I can see, every last bit of vegetation is dead,

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scorched out.

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A hundred yards back, I came across the remains of a wild pig.

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It must have been caught in a bomb flash.

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It's impossible to give you a description.

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1415. The sky is clear, no wind.

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It's quiet except for the ticking of my Geiger counter.

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I keep moving.

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1505. There's not a breath of wind. It's hot.

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I have to keep moving.

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There's plenty to photograph, good specimens.

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I've just taken some color film of a piece of coral.

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It looked like portions of it were melted by the heat of the blast.

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1520.

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I heard the prearranged signal and I hustled down to the beach.

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Harrison and Pichelli were coming toward me, waving their arms.

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Yeah, what's the matter?

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I'm talking to you. Nothing serious, Warner.

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I was going to hold this up though.

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What's the matter?

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Oh, we're short on film. Got any spare?

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No, I'm in the same spot. More stuff to shoot than we figured, I guess.

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You didn't leave any supplies in the boat, did you, Joe?

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No, I already checked it. I want to get something to eat. Getting a little hungry.

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I guess we should have brought along some rations, huh?

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Didn't figure it'd take this long.

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Well, all right, the two of you better take the boat and hustle back to the transfer point.

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Pick up some food, some more film.

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Okay. Any special you want?

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A couple extra rolls of 16 color if they got it.

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Better make it fast if we're going to finish up today.

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Right. Come on, Joe.

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Oh, hey, you sure you know the way back to our transfer point?

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I think so.

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We go due south, Island 20, down the east side, the second inlet.

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You got it. Meet you right here about 1700, 1730.

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Yeah. Hey, don't worry if we're a little late, we'll make it.

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I watch the two of them climb in the boat, start up the engines, and head south for the transfer point.

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The boat gets small in the distance. In a few minutes it's out of sight.

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1540. I'm alone on the island.

12:50.080 --> 12:53.080
I'm alone.

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1545. I found out a couple of minutes ago that there's something else alive on this island besides me.

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I spotted it moving in a charred tangle of brush about 50 yards inland from the beach.

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I took a look. It was a small bird, dark colored.

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Apparently he'd been exposed in one of the test blasts.

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One whole side of him was a bright red burn.

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He had one leg and one wing.

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He floundered helpless on the ground. The one wing kept flapping.

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The first impulse was to pick him up.

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I reached over and held my Geiger counter directly above him.

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Wasn't anything else I could do. I killed him.

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1630. I've just shot the last of the film and I'm back at our rendezvous point on the beach.

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Harrison and Pacelli haven't shown yet. I keep watching the horizon to the south.

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No sign of him yet.

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1700.

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1730.

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Still no sign.

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1830. It's practically dark, just a glimmer of light over in the west.

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1845. It's dark, no light, no sound.

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Only the Geiger counter. I keep looking out in the darkness across the water.

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No sign of the boat. I can feel the panic starting in.

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Where are they? When are they coming back for me? Are they coming back at all?

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Auto Light is bringing you Mr. Richard Woodmark in How Long Is the Night?

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Tonight's presentation in radio's outstanding theater of thrills, Suspense.

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Friends, winter weather's coming fast and if you want your car to last, you'd better hurry and be wise for now's the time to winterize.

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Right, Johnny Plug Check. It's time for a change of oil in Greece, antifreeze.

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And check those important spark plugs too.

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Because they're the heart of your car's ignition system and when they're right, your chances of starting even in the coldest weather are better than ever.

15:49.080 --> 15:56.080
If replacements are needed, your Auto Light spark plug dealer will recommend Auto Light resistor or standard type spark plugs.

15:56.080 --> 16:03.080
Both are ignition engineered and both are original equipment on many makes of our finest cars.

16:03.080 --> 16:10.080
By the way, the Auto Light resistor spark plug with its exclusive built-in resistor permits a wider gap setting,

16:10.080 --> 16:17.080
which makes possible advantages such as smoother engine performance, quick starts and double spark plug life.

16:17.080 --> 16:22.080
So winterize right now. Please do. And check those important spark plugs too.

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At your nearest Auto Light spark plug dealers and remember from bumper to tail light, you're always right with Auto Light.

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And now, Auto Light brings back to our Hollywood sound stage, Mr. Richard Widmark in Elliot Lewis' production of How Long Is the Night?

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A true story, well calculated to keep you in suspense.

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It's been over five hours, maybe more. I don't know, my watch stopped half an hour ago with the radiation I think.

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I haven't drunk any of the water from my canteen yet. I've decided to go slow with it. I haven't got any idea how long I'll be here.

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I keep walking. There's not much feeling left in my legs. If I could only sit down just for a minute.

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But I can't. I've got to keep walking. The Geiger counter is the only thing that keeps me awake, that and the motion of walking.

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The moon's been up for about two hours now. It throws enough light to give me some idea where I'm going.

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I don't know how long it's going to last as a high bank of clouds drifting toward it.

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If I only had a light, if the boat had only come back for me, what could have happened?

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Why would they do something like this to me? I keep walking.

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Oh, Lord.

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Hey, get out of here! Hey!

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Well, I can't be that panicky. It's impossible. There's nothing alive.

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We've been over the whole island. It's burned out. It's dead.

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I heard it. I know I did. It couldn't have been the wind. There isn't even a breeze.

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It's still here. It's hiding in the brush. Something alive.

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An animal? A man?

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Hey, what is it? What is it? It's gone. It's gone.

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Somewhere back in the brush. I guess I scared it off with the gunshots.

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I start walking again and the trembling in my legs works off. But my mouth and my throat, they're dry.

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I debate a few minutes before I reach for my canteen.

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No, it couldn't be. It couldn't. It's wrong.

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There's no mistake. Reaction the same is no use. My drinking water. Radioactive.

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Still no idea what time it is. Two, three in the morning. I don't know. Hunger pains are getting to my stomach.

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I've got a bad headache. Worst thing is my mouth and my throat. I'm so thirsty.

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The muscles in my legs are getting numb. I can only sit down just for a minute.

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I've got to keep walking. I've got to stay awake. Keep walking.

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I'm somewhere inland now, north end of the island. A while back there I thought if starvation sets in,

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I could always find something to eat along the beach. A dead bird or a dead fish.

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That illusion didn't last very long. They'd all be the same. Radioactive.

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What? Get out of here. Get off or you'll get away.

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Empty. I grabbed a gun flat in my hand. The sound came closer.

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I brought the gun back and I shoot with all my might. And I missed. I turned. I ran.

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Seems like hours running. Hours running. I stopped only once about 20 minutes ago.

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My throat was so dry I couldn't get my breath. I reached for my Geiger counter a minute ago.

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Maybe it happened when I was trying to get away. It doesn't make much difference.

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Anyway, it's done. The counter's smashed.

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I'm here. Finally. I'm at the beach. Just in time too. The moon's gone down.

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It's dark again. Pitch dark. I don't care. There's nothing.

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There's no water, no food. The gun's gone. Geiger counter's smashed.

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It's gone. It's gone. Everything.

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It's following me back. Still there. It's right up there in the brush.

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Right at the edge of the brush. It's waiting for me. It's waiting for me.

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But Jelly! Harrison, why don't you come? What happened? Why don't you come for me?

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What time is it? It's still dark. How long's the night? How long?

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What time? What time is it? Four o'clock? Five? What time? It's just no use. Prayer.

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Say a prayer. Which one? Our Father who art in heaven, hail Mary for us.

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Pray for us.

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I don't know how long it's been. I'm not sure. Edge of the sky looks gray.

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Maybe getting light. I've gone down to the very rim of the beach.

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I'm facing inland. My back to the water. I haven't heard the sound lately.

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Last half hour anyway. And I don't care.

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Over there. Over in the east. It's gray. The whole sky. It's getting light.

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It's getting light. Warner! Hey! You all right?

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Jelly and Harrison, they come for me. I wasn't thirsty anymore. I wasn't hungry.

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I was alive. It was more than enough. Hey, you all right? Yeah. Yeah, I'm all right.

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A lousy boat conked out on us, Warner. Half a mile from transfer point.

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I didn't have to think it was dark. I wouldn't stand a chance of finding the island at night.

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Hey, what's the matter? You sure you're all right? You got your sidearms with you? Yeah, why?

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Up there. Straight ahead of you. Patch a brush. Want to take a look? Why? What's the matter?

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I don't know. I'll give it a look. What's it all about? I wish I could tell you.

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What do you mean? Hey, Warner, come here. Give it a look. Come on.

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Yeah, what'd you find? Nothing. Just this wild pig here. Wild pig?

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Hey, the island's a full of them. I think he's still alive, see? Barely alive.

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Look at the flashburns, the skin. Pretty horrible. Wild pig. Yeah. You want to take care of it, Joe?

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Okay. Rest in peace. Amen. Huh?

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Warner, you sure everything's all right? It's been a long night, Bert. Let's go home.

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Anything we can do for you? Anything you want? Yeah. I want to sit down. I just want to sit down.

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Suspense. A true story presented by Auto Light. Tonight's star, Mr. Richard Widmark, will return in just a moment.

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This is Harlow Wilcock speaking for Auto Light, world's largest independent manufacturer of automotive electrical equipment.

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Auto Light is proud to serve the greatest names in the industry. They are members of the Auto Light family,

26:42.080 --> 26:50.080
as are the 98,000 Auto Light distributors and dealers in the United States and thousands more in Canada and throughout the world.

26:50.080 --> 27:00.080
Our family also includes the nearly 30,000 men and women in 28 great Auto Light plants from coast to coast and in Auto Light plants in many foreign countries,

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as well as the 18,000 people who have invested a portion of their savings in Auto Light.

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Every Auto Light product is backed by constant research and precision built to the highest standards of quality and performance.

27:14.080 --> 27:27.080
So remember, from bumper to tail light, you're always right with Auto Light.

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And now I'd like to present our producer director, Elliot Lewis.

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Thank you, Harlow. Dick, I'm very happy to announce that a poll of the regular radio performers who support our guest stars each week on Suspense

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has named you as the winner of the first annual Golden Mike Award as Best Actor of the Year 1951 on our Theatre of Thrill series.

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And here's something for the mantle over the Widmark Fireplace, our Golden Mike trophy.

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Well, Elliot, this is one of the nicest things that ever happened to me in radio. And I, well, I just can't tell you how grateful I am.

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But I think a great deal of the success of all your fine suspense shows should go to the players who took part in this poll.

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Anyway, thanks a lot.

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Next week, the winner of the Suspense Golden Mike Award for Best Actress, Miss Anne Baxter, who with song and story will tell of the death of Barbara Allen.

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The dramatization will be heard on Suspense.

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Suspense was transcribed and directed by Elliot Lewis with music written by Lucian Morawick and conducted by Lud Gluskin.

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How Long Is the Night was written for Suspense by James Mosher from a true report by Warner Tobe, Jr.

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featured in the cast were Jack Pruson, Joseph Kearns, and Herb Butterfield.

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Richard Widmark's next starring release for 20th Century Fox will be My Pal Gus.

28:51.080 --> 29:03.080
You can buy auto light resistor or standard type spark plugs, auto light staple batteries, and auto light electrical parts at your neighborhood auto light dealers.

29:03.080 --> 29:06.080
Switch to auto light. Good night.

29:06.080 --> 29:35.080
This is the CBS Radio Network.

