WEBVTT

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Auto Light and its 98,000 dealers bring you Miss Agnes Moorhead in tonight's presentation

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of Suspense.

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Tonight, Auto Light salutes the American Automobile Association and its traffic safety program

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as we present a dramatic report called, The Empty Chair, our star, the first lady of Suspense,

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Miss Agnes Moorhead.

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This is Harlow Wilcox speaking for the worldwide Auto Light family.

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Since 1922, the American Automobile Association, with the cooperation of 276 affiliated clubs,

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has been active in helping schools develop educational programs designed to protect children

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on their way to and from school, and to make them careful drivers upon graduation.

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Traffic safety is, as you know, everyone's business.

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So our story tonight will dramatize how we all can help ourselves and our children by

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driving carefully and by cooperating with traffic safety instructions.

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Here in the program, we will hear from Mr. Royce G. Martin, chairman of the board and

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president of the Electric Auto Light Company, and Mr. Ralph Thomas, president of the American

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Automobile Association.

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And now, Auto Light presents transcribed, The Empty Chair, starring Miss Agnes Moorhead,

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hoping once again to keep you in suspense.

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Now, are we all settled down?

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That's good.

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Miss Barbara Warner.

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You may call me Miss Barbara or Miss Warner, either one, which gives you young ladies and

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gentlemen at least two choices when you wish to attract my attention, so that there'll

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be no need to yell out, hey, teacher.

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Besides, 10B3, 10B3, and your homeroom, high school at last.

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And today's the first day.

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Young ladies and gentlemen, truly, and today's the day it really starts.

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So now let's get to know each other, shall we?

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All of you will get up and go to the back of the room, please.

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I have your study cards here, and I've arranged them alphabetically.

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We'll start with the first row and the first seat, and as I call your names, you'll be

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seated.

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Sidney Aronson, Mary Avanti, right in back of Sidney.

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Yes, that's right.

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David Coop, George Darley.

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Just a minute, George.

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Leave an empty seat, Jessica Bromley, and then skip one, and then you, George.

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An empty seat for David Cooper.

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For now.

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How'd you like that, Miss Warner?

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Bobby.

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What?

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Nothing.

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I didn't say anything.

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Don't worry about a thing, Miss Warner.

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Home.

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And how'd you like your ride?

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Well, I'm glad it's over.

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And I was just getting a compliment ready for you.

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Oh, you were?

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I've never had a teacher in my car before.

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And?

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I wanted to see how one of them would react to going 65 miles an hour.

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Nearly 70, Bobby, and in a residential section, too.

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Just for the last six blocks, Miss Warner.

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I was going to say how I was surprised you didn't scream at me or get hysterical.

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I was going to say I'm glad, since you're that kind of person, I'm glad you're going

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to board with my mother and me.

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Now you're sorry about the whole thing.

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Oh, no, no.

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I didn't mean that.

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I'm a good driver, Miss Warner.

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Yes, I'm sure you are.

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And this is a good car.

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Yes, it's beautiful.

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You mean it?

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Yes, of course I do, Bobby.

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But what about school, the traffic classes, and the sessions on safety?

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What about them?

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Well, didn't they impress you?

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Most of the boys and girls learn to drive through school classes, didn't you?

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Yes, ma'am.

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And reaction times, you were taught about those and how no one's reaction time is really

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fast enough to cope with an emergency at high speed.

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You drive as if you'd forgot all about that as soon as you walked out of class.

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And you sound like a-

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Bobby!

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Miss Warner!

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That's my mother.

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Well, what are you two out here for?

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Come on in.

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I've got tea made.

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Oh, I'm so glad you're here, Miss Warner.

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I wasn't sure when you'd arrive.

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Mrs. Morrison, mother of Bobby, a woman in her forties perhaps or younger, in a plain

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cotton house dress that hung loosely about her and her hands were almost delicate and

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quite thin and worn.

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And her fingers quickly and nervously pushed strands of graying hair tied against her temples

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and on her face the trace and not yet deep of lines of strain.

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Don't let Miss Warner carry her bag herself, Bobby.

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You take it.

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Take it to her room.

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Bobby!

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And then her touch on my arm and Mrs. Morrison led me into her house, into her home and showed

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me the living room, neat, sparingly furnished and said that I was welcome to use it any

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evening for my guests if I just let her know beforehand.

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She would arrange to go to a movie or call on a neighbor, just let her know beforehand.

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And the kitchen and where she kept the toaster and the coffee canister and the sugar and

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the other things I'd need for breakfast or a snack whenever I pleased.

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She didn't mind a bit.

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And then my room.

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I, uh, I had Bobby fix up the little radio on your bed table.

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I thought it might be nice.

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A pleasant room.

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A summer blanket neatly folded at the foot of the bed.

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A window open to a small wire fence vegetable garden.

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A desk, a chair, a pleasant room.

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Unpacked now and change and lie down and rest.

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Listen to the radio.

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And doze.

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Lay off me, Ma.

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Leave me alone.

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Just lay off me.

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Do you hear me?

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And wake in then to summer evening and do something more harsh.

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I'm fed up, Ma.

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Fed up.

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Do I reach your mind?

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Is it getting through to you?

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Listen to me, Bobby.

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I've had it listening to you, Ma.

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Bobby, she'll hear you.

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Miss Warner will hear you.

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Let her hear!

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You hear me, Miss Warner?

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You're listening real good?

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Hey, Warner, wake up!

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Hit the deck!

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Wake up and get an earful!

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All right.

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We'll do that, Bobby.

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We'll let Miss Warner listen so you won't have to yell at her.

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Miss Warner?

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Miss Warner?

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Yes?

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Would you come out, please?

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I want you to...

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Would you please?

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Yes, Mrs. Martin.

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Good evening, Bobby.

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Can you flip or something, Ma?

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My son was yelling and screaming at his mother and then at you.

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And he said he didn't care if you heard.

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Go on, Bobby.

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Tell me and tell Miss Warner how fed up you are with your mother.

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I told you and told you, Ma, just lay off me.

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You've had experience, haven't you, Miss Warner, with boys like Bobby and the others he runs

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around with?

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They must confide in you and tell you their things that they won't tell their mothers,

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that their mothers can't possibly understand or know or share.

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You're younger and more experienced and they must.

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Bobby?

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You're getting it blow by blow, Miss Warner.

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You stick with Ma and me and you'll get it every night, all night.

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Where are you going tonight, Bobby?

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Who will you be with tonight, Bobby?

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Where will I find you if I need you, Bobby?

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If you need me, Bobby?

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Look, I'm 17 and there's a joint that's got a jukebox in it and girls with pockets full

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of dimes and me, I got a car.

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I got a car, hot, real hot.

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Are you on the high school teacher here, Ma?

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You put your heads together and maybe it'll come out mathematical where your baby boy is

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nice.

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Oh, I'm sorry, Miss Warner.

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Forgive us, please.

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Don't mention it.

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He's...

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No, I want to tell you about my boy.

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He's had no father since he was eight.

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When he was 13, Bobby got some work around the garage after school.

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It helped, it helped out a lot and I was glad to see it.

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He loved working around motors and...

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Well, you saw that car he built and a boy's 17 to have built such a car.

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Mrs. Morrison.

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Yes?

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Has Bobby ever told you about Mr. Douglas?

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I don't think so.

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He's a teacher at our school, a manual arts teacher.

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No.

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He takes special interest in boys like Bobby.

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He's also our driver education teacher, we call him.

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He works with the boys and girls and the local automobile club helps him.

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Sometimes I...

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I just think my son is wild, that's all.

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That's just what I'm telling you.

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Mr. Douglas teaches safety and sanity in driving.

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He tries to tell the young people...

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Mrs. Morrison.

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Hey, Mrs. Morrison.

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Oh, oh, hello, David.

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Come in.

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Oh, David, this is Miss Warner.

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She teaches at the high school where you're going to go this year.

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Miss Warner, this is David Cooper, a neighbor boy.

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Hi, Miss Warner.

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Hello, David.

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I'm glad to know you.

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Me too.

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Where's Bobby, Mrs. Morrison?

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He's not here, David.

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Oh, out in the garage, huh?

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Working on that super neat job of his, I'll bet.

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I don't think so.

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Well, where'd he go, Mrs. Morrison?

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I don't know.

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He promised me.

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He promised me for sure this time.

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Promised you what, David?

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Well, he said next time he was in a race, I could ride with him.

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And I know there's one tonight.

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He welshes out on me.

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Well, he's the best, Mrs. Morrison.

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Real absolute best.

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Well, he's got all those other guys...

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How old are you, David?

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Huh?

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I ask how old you were.

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Thirteen.

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What's that got to do with it?

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Bobby promised me.

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He said I was old enough now for him to break me in.

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Well, good night, Mrs. Morrison.

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Miss Warner.

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David's our neighbor boy.

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Not many years ago, I used to babysit for his mother.

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Read to him, he and Bobby.

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Could I fix you something to eat, Miss Warner?

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And here, this picture was taken at Lake Louise, too.

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You can hardly tell I'm the one in the middle, can you?

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The way Miss Reba and I dressed up there.

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It must have been very expensive.

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Oh, and restful.

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I've got a lot of reading done that I've been promising myself to get...

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Oh, sit still, Mrs. Morrison.

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I'll get it.

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Good evening.

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Good evening.

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Does this young man belong here?

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Yes, he does, officer.

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Please come in.

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Who is it?

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Now, don't get excited, Mom.

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Oh!

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I said don't get excited.

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Are you Mrs. Morrison?

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Oh, yes.

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Yes.

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I'm Officer Cleaver.

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The man who was in the room.

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I'm the man who was in the room.

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I'm the man who was in the room.

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I'm the man who was in the room.

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I'm the man who was in the room.

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I'm the man who was in the room.

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I'm Officer Cleaver.

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The only reason your son isn't in juvenile court right now is because, as far as I know,

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it's the first time he's pulled a trick like he did tonight.

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What are you talking about?

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In his car.

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Him and another one speeding down Presbury Street.

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Your son headed north and the other one south, headed toward each other.

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Front wheels on the white dividing line to see who'd give way.

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Going over 70 miles an hour.

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Oh, Bobby.

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Who the other kid was, I don't know, ma'am.

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We can only catch one of them.

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Him.

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Auto Light is bringing you Miss Agnes Moorhead in The Empty Chair, tonight's presentation

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in radio's outstanding theater of thrills, Suspense.

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We'll continue with Suspense in a moment.

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Now here is Mr. Royce G. Martin, Chairman of the Board and President of the Electric

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Auto Light Company, to introduce our special guest.

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Tonight, the worldwide auto light family is privileged to salute the American Automobile

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Association and its traffic safety program.

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To tell us how this practical safety program is helping to reduce traffic accidents by

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teaching future drivers how to be careful drivers.

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Here is the President of the American Automobile Association, Mr. Ralph Thomas.

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Thank you, Mr. Martin.

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We at the American Automobile Association are grateful for the interest shown in our

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work by the auto light family, as evidenced by this program tonight.

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The problem presented in this dramatization is unfortunately a very real one and a very

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common one.

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However, cooperating with school and community authorities, we are engaged in stimulating

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and aiding an active educational program to teach our young drivers and pedestrians safety

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first.

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This year alone, 3A materials and services are being widely used in grammar and high

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school class instruction.

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Indeed, will help over 12 million students.

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This of course is important to all of us.

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If you have a son or a daughter in school, ask about this program and set a good example

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yourself by practicing safety behind the wheel.

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If you are a student, take an active part in class and when you are behind the wheel,

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be the best amongst the young drivers.

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Be a sportsman-like driver.

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Thank you, Mr. Thomas.

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And as an 8-year-old boy said when he was asked what safety meant, safety is thinking

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not to get hurt or to hurt.

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There is a definition we should all remember.

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And now, auto light brings back to our Hollywood soundstage, Miss Agnes Moorhead in Elliot

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Lewis's production of The Empty Chair, a dramatic report well calculated to keep you in suspense.

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Friday night in a quiet room and a window that opens onto the silences of a town already

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asleep.

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Friday night and an end to summer, last weekend before school's opening and the last book

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you've promised yourself to read before summer's closed.

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And read now to the undercurrent of voices from another room in Mrs. Morrison's home.

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The night stillness and Mrs. Morrison's search through it for the words to speak to her 17-year-old

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son.

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Saturday morning and Mrs. Morrison has made breakfast and over coffee.

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Will you try and do something about my boy, Miss Warner?

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Maybe you could do something, please.

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And dress then and go to the school.

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Try to save a boy.

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Doors open.

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Come on in.

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Oh, hello, Miss Warner.

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I don't want to interrupt, Mr. Douglas.

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I just...

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No, you're not.

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I'm just getting everything ready for when school opens Monday.

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What are you doing here today?

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Anxious to get back in honors?

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I don't know.

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I think so.

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Mr. Douglas.

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Yes?

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Do you know a boy named Bobby Morrison?

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Why, yes.

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What about Bobby?

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I'm boarding with him and his mother.

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I wanted to...

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I heard the police picked him up racing last night.

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Some of the boys came in and told me about it.

16:50.400 --> 16:52.600
I'm sorry to hear...

16:52.600 --> 16:54.360
His mother is very troubled.

16:54.360 --> 16:57.680
She asked me to help.

16:57.680 --> 16:59.160
Bobby's very bright.

16:59.160 --> 17:02.520
A real bright, intelligent boy.

17:02.520 --> 17:05.640
And sensitive.

17:05.640 --> 17:09.760
You were going to say something else, Mr. Douglas, about Bobby.

17:09.760 --> 17:11.600
He's a boy without a father.

17:11.600 --> 17:13.480
When he was eight.

17:13.480 --> 17:16.040
Bobby's a boy who's looking for something.

17:16.040 --> 17:20.340
And he finds it in speed and in danger, in ways that could kill him.

17:20.340 --> 17:21.360
We try, Miss Warner.

17:21.360 --> 17:23.220
We try real hard.

17:23.220 --> 17:25.440
We cooperate with the auto clubs.

17:25.440 --> 17:28.000
You know about the classes I give in driver instructions.

17:28.000 --> 17:29.000
Mr. Douglas...

17:29.000 --> 17:32.440
And I tell the kids, you kids drive like that, I say one out of a thousand of you'll be a

17:32.440 --> 17:34.360
corpse before the year's out.

17:34.360 --> 17:36.720
One out of 45 hurt crippled.

17:36.720 --> 17:38.840
We tell them why traffic laws are made.

17:38.840 --> 17:41.640
For the protection and survival of the community.

17:41.640 --> 17:45.800
By actual demonstration, we show them what a tremendous force they're handling when they're

17:45.800 --> 17:47.800
behind the wheel of an automobile.

17:47.800 --> 17:50.440
We go out and demonstrate the different conditions.

17:50.440 --> 17:55.880
The distances it takes to stop a car on a dry and slippery pavement from different speeds.

17:55.880 --> 18:01.720
Together, we study accident reports and actual photographs of what happens when you're arrogant

18:01.720 --> 18:04.240
or careless with a car.

18:04.240 --> 18:07.400
Smashed cars from head-on collisions.

18:07.400 --> 18:08.800
Smashed people.

18:08.800 --> 18:11.600
We give them visual and muscular coordination tests.

18:11.600 --> 18:15.360
So they'll understand what speed and hundreds of horsepower can do to them.

18:15.360 --> 18:19.160
And how to face emergencies behind the wheel.

18:19.160 --> 18:24.520
We try to make sportsmen-like drivers out of them.

18:24.520 --> 18:25.520
Miss Warner.

18:25.520 --> 18:26.520
Yes?

18:26.520 --> 18:28.920
Boys like Bobby.

18:28.920 --> 18:32.600
Whatever their reasons, they won't listen.

18:32.600 --> 18:36.280
Nights they gather and go out to the hub in their souped-up cars and they dance to the

18:36.280 --> 18:40.360
jukebox and they won't listen.

18:40.360 --> 18:41.360
The hub?

18:41.360 --> 18:44.520
A place out on State Highway 52, south side of the bridge.

18:44.520 --> 18:46.080
Used to be a kind of general store.

18:46.080 --> 18:48.080
A fountain and hamburgers.

18:48.080 --> 18:52.320
The kids picked it up, had Charlie Phillips, the owner, put in a jukebox and a big neon

18:52.320 --> 18:54.120
sign.

18:54.120 --> 18:55.600
They gather their nights.

18:55.600 --> 18:56.600
For races.

18:56.600 --> 18:58.640
Will you take me there, Mr. Douglas?

18:58.640 --> 18:59.640
What?

18:59.640 --> 19:01.120
I want to see for myself.

19:01.120 --> 19:02.880
Tonight, around nine.

19:02.880 --> 19:05.240
I'm at Mrs. Morrison's on Benton, 853.

19:05.240 --> 19:06.240
Will you call for me?

19:06.240 --> 19:07.240
Why, of course.

19:07.240 --> 19:08.240
Thank you.

19:08.240 --> 19:22.320
And later, when I got back to the house, Mrs. Morrison said Bobby hadn't been home all day.

19:22.320 --> 19:24.760
But it wasn't unusual, she said.

19:24.760 --> 19:25.760
He'd show up for dinner.

19:25.760 --> 19:26.760
But he didn't.

19:26.760 --> 19:33.000
And Mrs. Morrison picked at her food and got up from the table too often and walked around

19:33.000 --> 19:36.360
and made excuses which could cover Bobby's not being there.

19:36.360 --> 19:38.560
A double feature Bobby had to see twice.

19:38.560 --> 19:41.840
A friend had him to dinner and Bobby forgot to call.

19:41.840 --> 19:45.920
The ordinary excuses we all make to hold back the truth for a while.

19:45.920 --> 19:51.320
And after dinner, dishes and her trying to chat brightly, but somehow sentences trailing

19:51.320 --> 19:52.800
off and not being finished.

19:52.800 --> 19:57.760
And glances through the window onto the night street and the head cocked to the sound of

19:57.760 --> 20:00.560
every passing automobile.

20:00.560 --> 20:07.320
And when the doorbell rang, a mother hurrying for news of her son.

20:07.320 --> 20:08.320
And the disappointment.

20:08.320 --> 20:10.520
Please come in, Mr. Douglas.

20:10.520 --> 20:11.520
Thank you.

20:11.520 --> 20:12.520
Oh, Miss Warner.

20:12.520 --> 20:15.160
Mr. Douglas is here.

20:15.160 --> 20:21.160
And the ride down State Highway 52, south through good countryside of Sycamore and Birch,

20:21.160 --> 20:23.200
across a wooden bridge.

20:23.200 --> 20:29.120
And the intrusion now upon a time of evening quiet of a thing, a wheel, an enormous wheel

20:29.120 --> 20:31.000
of red neon.

20:31.000 --> 20:37.320
A wheel whose each spoke displaced a tube of sky when it lit, one spoke after another.

20:37.320 --> 20:41.920
And when the huge and clever wheel was finally complete, a thing happened.

20:41.920 --> 20:47.600
The word hub announced itself at the split second when the center of the wheel appeared.

20:47.600 --> 20:48.600
This is the place.

20:48.600 --> 20:49.600
Let's go inside.

20:49.600 --> 20:57.040
You and your friend can have this booth right here, Mr. Douglas.

20:57.040 --> 20:58.040
Thanks, Charlie.

20:58.040 --> 20:59.560
Oh, don't go away.

20:59.560 --> 21:02.600
I want you to meet a friend of mine, Miss Warner, Charlie Phillips.

21:02.600 --> 21:03.600
How do you do, Mr. Douglas?

21:03.600 --> 21:04.600
Hello.

21:04.600 --> 21:05.600
The hub belongs to Charlie.

21:05.600 --> 21:06.600
Yes, ma'am.

21:06.600 --> 21:09.080
Our things, Charlie.

21:09.080 --> 21:11.600
Last night, that kid over there, you see him?

21:11.600 --> 21:12.600
That one near the music box.

21:12.600 --> 21:13.600
Gordon Matthews?

21:13.600 --> 21:14.600
Who knows what his name is?

21:14.600 --> 21:16.080
Well, that's Gordon, all right.

21:16.080 --> 21:17.440
He was in my homeroom last year.

21:17.440 --> 21:21.000
You should have made him write a few hundred times, don't play with matches.

21:21.000 --> 21:24.120
He would like to set fire to the place last night.

21:24.120 --> 21:26.520
Why, that boy's barely 15 years old.

21:26.520 --> 21:30.720
What's he doing out here five miles outside of town this late at night?

21:30.720 --> 21:33.480
Listen, he's got a pair in a toon can ask that question, I mean.

21:33.480 --> 21:35.360
Oh, why don't you just tell him to go home, Charlie?

21:35.360 --> 21:36.800
Why don't you keep him out of here?

21:36.800 --> 21:41.640
For the same reason you're teaching school, to eat, to make a living.

21:41.640 --> 21:43.280
Once this was a nice place.

21:43.280 --> 21:46.440
Why, there's David, David Cooper.

21:46.440 --> 21:47.440
David?

21:47.440 --> 21:48.440
David?

21:48.440 --> 21:51.440
Oh, hello, Miss Warner.

21:51.440 --> 21:54.080
What are you doing here, David?

21:54.080 --> 21:56.160
David, I'm talking to you.

21:56.160 --> 21:57.160
I know you are.

21:57.160 --> 21:58.160
How did you get out here?

21:58.160 --> 21:59.160
I hitched.

21:59.160 --> 22:01.760
Mr. Douglas and I are going to take you home.

22:01.760 --> 22:03.760
I'm sorry, Miss Warner, but I...

22:03.760 --> 22:04.760
Oh, hi, Bobby.

22:04.760 --> 22:05.760
You ready, kid?

22:05.760 --> 22:06.760
What is this, Bobby?

22:06.760 --> 22:07.760
School opens Monday.

22:07.760 --> 22:12.760
Then you ask questions and ask for hands.

22:12.760 --> 22:14.680
Saturday night don't belong to you, Miss Warner.

22:14.680 --> 22:15.680
Come on, kid.

22:15.680 --> 22:16.680
Please, Miss Warner, let me go.

22:16.680 --> 22:17.680
What's the trouble?

22:17.680 --> 22:21.360
Look, you'd better stay out of this, Mr. Douglas.

22:21.360 --> 22:22.760
David is going someplace with Bobby.

22:22.760 --> 22:24.280
I want to know where.

22:24.280 --> 22:25.280
Where, Bobby?

22:25.280 --> 22:26.280
Where?

22:26.280 --> 22:28.200
All right.

22:28.200 --> 22:29.840
Outside is my car.

22:29.840 --> 22:31.320
And outside is two other cars.

22:31.320 --> 22:33.440
And the boys in them are impatient.

22:33.440 --> 22:35.120
That's how we tell each other we're impatient.

22:35.120 --> 22:37.240
You're going to race, Bobby?

22:37.240 --> 22:38.240
Yeah.

22:38.240 --> 22:40.280
And down the road a few yards is a bridge.

22:40.280 --> 22:41.280
You get the picture?

22:41.280 --> 22:42.280
You're crazy.

22:42.280 --> 22:43.280
What's he going to do?

22:43.280 --> 22:44.280
Tell her.

22:44.280 --> 22:48.040
The three of them will line up abreast on the road.

22:48.040 --> 22:49.920
Then they'll race to the bridge and over it.

22:49.920 --> 22:53.280
But there's only room for two cars across that bridge.

22:53.280 --> 22:54.280
That's right.

22:54.280 --> 22:55.280
And the three of us will have to drop back.

22:55.280 --> 22:56.280
Come on, Davey.

22:56.280 --> 22:57.280
Okay.

22:57.280 --> 22:58.280
Oh, you stay here, David.

22:58.280 --> 22:59.760
Now listen, you can get killed.

22:59.760 --> 23:01.080
Let go of me.

23:01.080 --> 23:03.920
I would if I were you, Mr. Douglas.

23:03.920 --> 23:06.440
I'd really let him go.

23:06.440 --> 23:07.440
Mr. Douglas, hey.

23:07.440 --> 23:08.920
What do you want, Charlie?

23:08.920 --> 23:11.880
These kids, they turn into a wolf pack.

23:11.880 --> 23:13.400
Don't get yourself into any trouble.

23:13.400 --> 23:15.120
These boys wouldn't dare to.

23:15.120 --> 23:19.600
Listen, Miss Warner, last month an older brother, there must have been a man about 30, very

23:19.600 --> 23:22.840
hefty fellow with muscles on his forearm.

23:22.840 --> 23:25.880
This fellow came in here and tried to pull his kid brother out of here.

23:25.880 --> 23:27.920
He landed in the hospital.

23:27.920 --> 23:28.920
Cut.

23:28.920 --> 23:32.160
There's 16 kids here, Miss Warner.

23:32.160 --> 23:36.240
But what Bobby is going to do, that race over the bridge with David, both of them can be

23:36.240 --> 23:37.240
killed.

23:37.240 --> 23:40.080
The way they handle those cars, you don't know.

23:40.080 --> 23:41.800
Come on, Davey.

23:41.800 --> 23:43.800
You coming?

23:43.800 --> 23:45.800
Sure.

23:45.800 --> 24:03.880
name, Mr.Douglas & Mr.panzee as the prices are,21

24:33.880 --> 24:40.600
And Mary Wheeler, you start the last row, Mary, will you please?

24:40.600 --> 24:42.220
Take the seat down front.

24:42.220 --> 24:43.840
Then Judy Wilton.

24:43.840 --> 24:46.680
Then John Young, the third seat.

24:46.680 --> 24:47.960
And Martin Young.

24:47.960 --> 24:48.960
Your brothers, aren't you?

24:48.960 --> 24:50.760
I can tell.

24:50.760 --> 24:53.600
And next to the last, Audrey Zant.

24:53.600 --> 24:55.400
And George Zimmerman.

24:55.400 --> 24:56.400
There.

24:56.400 --> 24:59.400
Now, young ladies and gentlemen, here we are.

24:59.400 --> 25:02.440
10B3 at Alexander Hamilton High School.

25:02.440 --> 25:04.960
Oh, come right in, Bobby.

25:04.960 --> 25:10.000
And so, class, this is the first day of our new school year, and this is where we'll meet

25:10.000 --> 25:12.960
to start each day and to end it.

25:12.960 --> 25:17.560
The young gentleman who just came in to visit is a senior, and his name is Bobby Morrison.

25:17.560 --> 25:20.440
He asked if he could talk to you, and I said he could.

25:20.440 --> 25:21.880
All right, Bobby.

25:21.880 --> 25:23.960
Thank you.

25:23.960 --> 25:29.840
I guess, first of all, I want to apologize to you.

25:29.840 --> 25:31.160
All of you.

25:31.160 --> 25:37.560
Miss Warner, and, well, all of you, because of that empty chair.

25:37.560 --> 25:39.440
It's my fault.

25:39.440 --> 25:41.320
I guess you know about it.

25:41.320 --> 25:43.720
I guess you've heard.

25:43.720 --> 25:46.580
But I want to tell you how sorry I am.

25:46.580 --> 25:48.560
It was my fault.

25:48.560 --> 25:54.480
Now, soon you'll be taking those driver training courses, and that way you're going to learn

25:54.480 --> 25:56.660
what safety means.

25:56.660 --> 25:59.040
That it means respecting the lives of others.

25:59.040 --> 26:04.400
Now, that's something I didn't do, and that's why you've got that empty chair instead of

26:04.400 --> 26:06.680
David Cooper.

26:06.680 --> 26:08.760
But David's going to be all right.

26:08.760 --> 26:14.920
I've been spending a lot of time at the hospital, and today they told me that.

26:14.920 --> 26:18.480
That's about all, Miss Warner, and thank you for letting me say it.

26:18.480 --> 26:19.480
Thank you, Bobby.

26:19.480 --> 26:22.800
And that's why we'll save David's seat for him.

26:22.800 --> 26:25.440
He's coming back.

26:25.440 --> 26:29.600
I want to wish you all a fine, productive, and safe school year.

26:29.600 --> 26:33.200
And if there's anything you want to talk to me about, I'll always be here.

26:33.200 --> 26:56.560
You may go to your first class.

26:56.560 --> 26:58.000
Suspense.

26:58.000 --> 27:03.720
Brought to you by Auto Light, tonight's star, Miss Agnes Moorhead, will return in just a

27:03.720 --> 27:04.720
moment.

27:04.720 --> 27:08.680
Tonight, our worldwide Auto Light family has been privileged to salute the American Automobile

27:08.680 --> 27:12.320
Association and its traffic safety program.

27:12.320 --> 27:17.640
In fact, everyone who helps bring traffic safety and driver training programs to boys

27:17.640 --> 27:21.560
and girls in their school classrooms throughout the world.

27:21.560 --> 27:27.760
You too can aid in promoting safety by driving carefully at all times, and by making sure

27:27.760 --> 27:33.440
that schools in your community are teaching traffic safety in their classrooms.

27:33.440 --> 27:38.760
Full information on programs available can be secured from your local automobile club

27:38.760 --> 27:45.000
affiliated with the American Automobile Association or from the American Automobile Association,

27:45.000 --> 27:55.720
Washington, D.C.

27:55.720 --> 28:00.320
And now I'd like to present Agnes Moorhead and our producer director, Elliot Lewis.

28:00.320 --> 28:01.320
Thank you, Harlow.

28:01.320 --> 28:05.720
Agnes, I'm happy to inform you that you have been voted Auto Light's Golden Mike Award

28:05.720 --> 28:09.520
for the best female performance of the year on Suspense.

28:09.520 --> 28:12.080
Congratulations, and here, this is for you.

28:12.080 --> 28:13.880
Oh, thank you, Elliot.

28:13.880 --> 28:18.200
As you know, Suspense has always been my favorite radio show, so receiving this award is a double

28:18.200 --> 28:19.200
honor.

28:19.200 --> 28:21.520
Thank you very, very much.

28:21.520 --> 28:27.440
Next week, a story based on fact as we recreate the excitement and violence of a fire in an

28:27.440 --> 28:28.720
oil field.

28:28.720 --> 28:31.680
The story is called Hellfire.

28:31.680 --> 28:34.840
Our star, Mr. John Hodiac.

28:34.840 --> 28:45.600
That's next week on Suspense.

28:45.600 --> 28:50.680
Suspense is transcribed and directed by Elliot Lewis with music composed by Ranny Garragenk

28:50.680 --> 28:53.240
and conducted by Lud Gluskin.

28:53.240 --> 28:57.920
The Empty Chair was written for Suspense by Morton Fine and David Friedkin.

28:57.920 --> 29:00.920
In tonight's story, Sam Edwards was heard as Bobby.

29:00.920 --> 29:06.920
Featured in the cast were Michael Chapin, Paula Winslow, Joseph Kearns, and Herb Butterfield.

29:06.920 --> 29:12.360
Agnes Moorhead will soon be seen in the magnificent obsession.

29:12.360 --> 29:21.840
And remember, next week, Mr. John Hodiac in Hellfire.

29:21.840 --> 29:27.040
And now, this is Harlow Wilcox saying good night for the Autolite family with this reminder.

29:27.040 --> 29:35.320
You're always right to be careful.

29:35.320 --> 29:50.960
This is the CBS Radio Network.

