Good morning everybody. We're getting the truck ready to go. We're headed up to Thompson, Manitoba about eight hours north of here.  It should be a fun trip. Before we get started here, today's shout out goes to our friends at Bullsnaught. All of the cleaning products you need to keep your truck shining. Go down below to my description where you can find a link to their website brownox.com for the US and Bullsnaught Canada for up here in Canada. Go check them out if you like a clean rink. Let's get on with the video. We've been at home for a little over a week now. I was hoping to be at home for another couple of days. I have a whole bunch of stuff as you saw in yesterday's video. We put together that treadmill and I have some stuff here on YouTube to catch up with. Some office work to do you might say. But oh well duty calls. The road calleth to the and you must answer the call, right? They got swamped. So I had talked to them and said hey I need to get all of this stuff done. And they said yeah sure no problem and then they called me back later that day and sent me a message saying hey they're getting pretty swamped. I said okay well no problem. No problem you're getting swamped. I'm your guy. I'll grab one of the loads that needs to go and this one goes up north. So Thompson, Manitoba looks like it's sort of in the central part of Manitoba when you look on a map. But to us here in Manitoba that's in the northern part of the province. I call it the end of the paved road. It's not actually the end of the paved road but it's the last big city. It's not a big city. A big town city before you head up into the seasonal access communities up in northern Manitoba where a lot of those communities up there you have to only fly in. In summertime there's no roads going there. Or you have to take the ice roads or the winter roads in winter to get there. So we do winter roads as well here. I don't do it personally. I don't want to take old blue up there. On the winter roads they get pretty rough. But we do have a lot of friends that are up there that were up there. They're closed for this season already. It was a pretty short season. But you can imagine how busy it gets up there. Because all of their product as much as they can for the entire year has to get there on the winter roads when they're open. So it's just truck after truck after truck after truck getting everything in. And during the summer when they need stuff they have to fly it in which is a lot more expensive. So the hardest thing about getting going all the time is getting everything into the truck. Or back into the truck. Because every time I go home for more than a couple of days for a weekend or for two nights or more I take everything home. Mostly everything home.  Take all the food out of there. Go through it. Make sure there's no old food obviously. Throw that out. Keep the good stuff. I have towels on my floor that keep my floor clean. That is not perfect but it keeps my floor a lot cleaner from all the dirt and everything that comes from getting in and out of the truck all the time. Those come home they get washed and then it's pretty quick to vacuum out the truck after that. And so you see all of my stuff back there. Usually when I get going I sort of just throw it all up on the bed there. It's kind of organized but throw it onto the bed and then I get out there. Deliver my freight or pick it up whatever and at the end of my day I'll set up my bed. That way I get as much time at home as possible. Otherwise I have to leave home even earlier if I want to set up my bed and put everything away before I leave. I'd rather just get everything into my truck. Get out there. Stay home as long as I can to my family. Rush over to the truck. Throw everything in. Get going and then you know as we go through the day we'll put everything in its rightful spot. Speaking of getting going got a few more things to get in here and we got to get this truck out of the shop. I know on the road we had some snow overnight and yesterday so we got we got some snow to deal with today but I checked the weather as we go further north there's less snow. Weird right? That's how it is. We've got a 53 foot step deck behind us.  So our pickup is on the southwest side of Winnipeg. We have a 53 foot step deck behind. It's an empty c-can from what I understand. A 40 foot c-can. So we're going to put it on the bottom deck there. Chain it down and pull it up the Thompson. I'll be in Thompson late tonight. Sleep there at the Petro Canada. This thing off my trailer first thing in the morning and book it back. It's a pretty simple trip. As long as you don't hit any bad weather as long as the forecast is correct. We're on the south perimeter of Winnipeg facing westbound right now. We're coming up to that new overpass that they're building on St. Mary's. Looks like my lane is ending. It's about time that they get this done. We talked about this before. I'm really happy to see this. Speaking of bridges. This is old news for you already. I know but did you guys see that bridge in Baltimore that collapsed after that ship ran into it? That was crazy. If you don't know what I'm talking about or haven't seen it yet. After you're done with my video go online and look up like Baltimore bridge collapse. You'll find it with videos of it. Terrifying. People were on the bridge. There's cars and trucks on the bridge and there's this big cargo ship that lost power and drifted into one of the support beams and the whole bridge just collapsed into the water. The water was freezing. I believe they rescue two people. They're still looking for people at the time I'm filming this but of course nightmare right. You're just driving along on a bridge and suddenly boom you're in the water. Instant. It's crazy. Grabbing one of these containers in here. Never loaded here before so no idea what to do. Just following the signs. I really appreciate it when shippers and receivers put nice legible signs with arrows and stuff where to go. This container loading area this way. I like that. Look good. I can see the next sign already. Container loading area that way. How many places you sort of just got to guess where to go? Oh someone else is getting loaded here already. One of our guys I don't think. Nope that's someone else. That looks over height don't you think? I brought a step deck so I wouldn't be over height. All right so I just talked to that driver up there and he already called in. There's a phone number on a board in front of him there. He already called in so they're on lunch right now. They'll be here right away. Container as well. There's my trailer. I'm guessing that guy's getting unloaded because he doesn't have any chains on. He's probably getting unloaded and there's the machine over there that's going to be doing the unloading. So he's got to wait. I kind of figured that that would happen though. I was looking at the time and I was thinking I'm going to get there right at lunch hour aren't I? Yep it's 12.20 so I don't know if they have lunch till 12.30 or 1 o'clock. That's pretty quick. I feel very important very special. I don't go to these seacan yards very often. These forklifts are huge. The guy here like with those forklifts what he's doing there. That's the can he took off for the last truck right? That'd be fun to operate that thing. There he goes. So he's going to go find mine. He knows which one it is. I don't know which one it is. I don't know anything about it except that it's 40 feet. He asked me if I wanted up against the step or at the tail of the trailer. I told him put it up against the step and then once he has it on my trailer I'm going to chain it down. I'm going to cross chain it from top to the bottom. I'm hoping I can reach the top in the back. That's the thing. I wonder how I'm going to get up there. I wonder if I have a ladder around here or do I want to go from the top corner across and an X in the back. Same thing in the front. It's just an empty can so that should be enough. But wait and see what they come up with. Or what I come up with. Really tying it down is my job. Let's see what I come up with. So I've got the C can on the back. I'm going to see it in my trailer or in my mirror there. I'm going to use these steps right there to get the chains hooked onto the top. I'll show you what I mean here. So it's an empty can. Pretty light. I'm going to use those stairs because I've got to get the chains hooked up in the corners there. So I'll go from that corner there down to here. That corner there down to there. Same thing in the back. Criss-cross. And then it'll be secured. Okay. Oh my god. I'm in here. Remember when you use these bear trap binders? You got to have those safeties on there. Criss-crossed in the back. Criss-crossed in the front. That'll hold it down and it'll hold it from going forward and back. It's an empty C can so very light. That was telling you. I've also wrapped it around slightly on the front here and on the back. It holds it in place. There you go. That ain't going nowhere. And just for fun has an extra precaution. Just throwing a few straps over it as well. Just for an extra piece of mind. The chains are doing all the work but just in case. I'm going to swing into Flying J and heading west to Winnipeg. Grab our fuel here. That'll get us all the way up to Thompson. Maybe even all the way back but at least all the way there. Busy, busy. I choose this lane. We filled up for 435 liters here in Winnipeg. I have full tanks now. You should be able to get me to Thompson and all the way back but I am pushing into a wind on the way up. So I'm going to be burning a little bit more than I'd like to on the way up there. So we'll see when we get up there if I need to fuel up. It's a lot more expensive to fuel up in Thompson than back down here. So if possible I want to get all the way back down here before I refuel again or just and fuel up just enough up there that I can get back here. It's time to go though. We're officially loaded, tied down, fueled up. Brakes are released. Slide left at 130 meters. I know how to get back on the road. Thanks Karen. 100 meters. Slide left on. Cat man to road and man. Turn right into 170 meters. Riving. Oh eight hours plus at least one stop for bathroom break and such right. So it's quarter to three right now. Let's just round it up to three o'clock. I'm guessing I should be in Thompson before midnight. Between 11 and midnight. Probably around 11 30 which has tons of space here right but they don't clear it in winter time. So all of this space sort of gets wasted. We're on this way actually. Behind the building remember last time we were here this is a big time it would definitely attract bears. Ah it's still there.  Oh it's gotten bigger. Spring snack. I just stopped here for a quick bathroom break. It's all I needed. It was just a quick bathroom break but I don't understand the garbage behind the place there. Like probably not to be too judgmental here but at the same time that's been there for years. That garbage back there and if you can tell it's been torn apart by animals and stuff. It'd make me question the sanitary conditions inside if that's how they present the outside. I know they're trying to hide it behind the building but I mean it's your choice. Your choice. It's just a friendly warning to you if you do come up here. Just at night time if you stop here and you're walking from your truck and it's summertime just be aware there's probably scavengers including black bears and you know depending on what time of year it is they'll probably have cubs with them because this is where they found food. Garbage is right out there. This is right at the corner of 60. Not 60. It's highway 6 in Manitoba and highway 60. It's just south of that or just before that intersection. It's the SO. It's too bad because this place has serious potential. I mean it's at a great location right at that intersection. Lots of trucks. This is the only road that heads up into northern Manitoba right? So anything going into northern Manitoba comes right by here. It's an excellent location but you don't take care of it. You lose a lot of business. I thought this place was closed down once already but apparently it's still open. We're actually making really good time. I might even get to Thompson by 1030 or before 11 at least as far as I know. Can you turn if possible again? Turn left in 115 meters. The right here beside this guy on the left. That's a good sign. I suppose I could come all the way back here but yeah that's Rumpark anyway. Should be good. I don't want to come back too much further because my truck is on level ground right now but you can see my trailer. The passenger side is up a little bit higher. So if I move further back my truck will be leaning towards the driver side and that's the side where I put my head and you don't want your head lower than your feet if it all possible.  Got to be up at about 730, 8 o'clock tomorrow morning. Just going to run down the road where I got to drop off the C-can. They're going to take it off. The trailer will be empty. I'm going to go straight home. So as usual you know the drill. I ask that if you want to support the channel the best way to do it. The best free way to do it is to hit that thumbs up button. Hit that subscribe button and of course leave a comment down below. Let me know what you're thinking. Let me know what you thought of my content. Let me know what you'd like to see more of. Every day maybe we'll pick a winner at the most random comment which should be interesting. It helps me out. If you want to go one step further you can always get early access to my videos by becoming a member. Pull my video or on my main page and you get early access to my videos as a premium member. Basic member you get special badges in the comments. Let's turn this off. Bosses me around all day but when I get tired of running this turn I'll see you tomorrow everybody. I appreciate you. Take care and drive safe out there. I mean it.


Well, last Saturday, there was another one, a younger one, and he came over and, of course, his gun was right here, you know, on his hip. It wasn't the same gun.


AutoLite and its 96,000 dealers present... Suspense! Tonight, AutoLite presents transcribed a murderous revision. The story about a man who made a recording of a violent death, starring Mr. Richard Widmark. Hi, Hap! Meet the team. Where? Why, right under your car's hood, Hap! The AutoLite electrical system, the family team of precision-made units including the coil distributor, starting motor and the other parts that make up the complete AutoLite electrical system, used as original factory equipment on many leading makes of our finest cars, trucks and tractors. Well, what does this team do, Harlow?  The AutoLite electrical system does all that, huh, Harlow? Right, Hap, because all its units are related like a family team by AutoLite engineering design and manufacturing skill for the smoothest performance money can buy. So friends, when your AutoLite-equipped car needs replacement parts, insist on AutoLite original factory parts because from bumper to tail light, you're always right with AutoLite. And now, with a murderous revision and the performance of Mr. Richard Whitmark, AutoLite hopes once again to keep you in suspense. What did you want to see me for? Oh, Chris, come in, sit down. Do you, uh, get to hear the show Sunday? I don't like to listen to the show. Why not? Because I don't, that's all. Hey, Mr. Goodwin, I put some zip in that closing scene. I want you to hear it. I've got the playback ready. Hand me that record, Mark, part two, will you? Thanks. I don't know, Chris, I don't make you come to rehearsals. You don't have to sit in the control room all day. The least you can do is listen to the show at home. Well, listen to this now. George, honest, I didn't mean it, George. Get this, Chris, get this. Do you mean to say that you didn't really mean it when you told my brother you didn't love him? You forget, Doris, that I heard you every word while I was hiding behind the Davenport. The night my mother was here. George, I beg you, don't do this thing. Put down the gun, George. This is only what you deserve. Made for the last time, Doris. You tricked me for the last time. What did you change it for? What was wrong with the ending the way it was? Why did you change it? I'll just take it easy, Chris. I'll tell you why I changed it. Because it was wordy and repetitious. It didn't tell the story. The boys upstairs? The boys upstairs. Yeah, that's just what I thought. The boys upstairs. They do everything but breathe for you. Did it ever occur to you that maybe people are wordy and repetitious? Chris, I'm trying to tell you the scene the way you wrote it. Just didn't play. Yeah, that's right. All the trade cliches. Drag them out. It didn't live. It didn't play. It didn't make the right goose bumps. Come out on your left elbow. How did you ever get into this business? Who ever lets you into a radio studio? I'll tell you what's wrong with you. What you need is a good psychiatrist. Don't you tell me I need a psychiatrist. Let go of me. I said, let go. Why, you're nuts. Now, you listen to me. For two years now, I've turned out a murder a week for you. Week in and week out. A murder a week. I eat murder. I talk murder. I dream murder. And for what? Every time I turn in a decent script, you chop the heart out of it. Your contract's up next week, Chris. You've got only one more script to do. Well, write it and get out. You'll get better than a script. You'll get everything you deserve. I'm gonna show you what a real murder sounds like. I'm gonna show you if I have to kill you to do it. Good evening. This is a recording of an actual murder. The first, as far as I know. Not written, not rehearsed, but well-planned. It is respectfully dedicated to Mr. Ken Avery, editor and producer of the radio program, Murder Please. This is my last show, Mr. Avery. I'm delivering it to you in its entirety. Cast, music, everything. The events and persons are absolutely real. It's gonna be a great show, Mr. Avery. You'll hear everything but the climax. I'm speaking into a microphone concealed in my desk, concealed with the other recording equipment I've rented for the occasion. The music you hear is coming from a high-fidelity phonograph at my side. This program is produced, edited, directed, engineered and plotted by Christopher Turner, whose only claim to immortality is this single half-hour. And now, Mr. Avery, the leading characters in order of appearance. The murderer, Christopher Turner. The catalytic agent, your daughter Lois. The victim, your son. And now, please to begin. Murder Please. Hello, Ken. This is Chris. I hate to bother you at home, but I wanted to apologize for the way I acted. Could you drop over to my office right away? Sorry, Chris. Now put up with your little insanities for two years now. Temper tantrums, insults, coming in stewed to the gills.  I see. You won't change your mind. Not a chance. Maybe you can find somebody more patient than I am. Good luck. Thanks, Ken. Thanks a lot. Lovely opening scene, Mr. Avery. Thank you. Exactly what I wanted you to do.  Good work and excellent performance. Well, if you won't come up to my office by invitation, which I suspected you wouldn't, there's still another way. The telephone book. Listen, Mr. Avery. The sound of the flipping pages. Your daughter's phone number. Here we are. Hello, Lois. It's been a long time, but you don't even know who this is. This is Christopher Turner. How are you? Fine, just fine. Well, how do you like living alone? It's all right, I guess. Rather be living with the folks? No way. Yeah. How's the writing coming? Scripts so far and every one of them has been rejected. I don't know what's the matter. Well, the reason I called was your dad and I had a talk this afternoon about you. He thought maybe I could pass on a few tips. Oh, I wouldn't want to bother you. Oh, now, this isn't an obligation on my part, Lois. I like to help young people. Say, what are you doing this evening? Well, you see, here's the point, Lois. This is the only free night I'll have this week.  And maybe you're doing some little thing with your writing that I could straighten out in the evening. Well, all right, Mr. Turner. Good. You know where my office is? I don't think so. It's right across from the broadcasting studio. It's the Brown Building, room 208. I'll be right over. Fine.  I will. I certainly appreciate this. Not at all. Bye. Bye. I'll be right over and bring your scripts with you. I certainly appreciate this, not at all. You see, that's how people talk, Mr. Avery. Let's see what else. Oh, yes, sound. Door opens. Gun taken out. Click of breach. Whirl of chamber. Bullets inserted in chamber. Six. Gun in drawer and drawer closed. And now we must wait. You see, Mr. Avery, fate is a better dramatist than either. Just when things start getting dull, the phone rings. Hello. Hello, Chris. Hank. Oh, what's up? I tried your place all night. I tried your sister's place. Finally, I called your office. I wouldn't let myself believe it, but here you are slaving away for old man Avery again. Say, when are you going to tell him to go take a fly in a week? I did that just today. No kidding? Yes. Well, congratulations. From here on in, nothing but bigger and better things. Yeah. Say, there's a rip-roaring poker game going on over here. Just room for one more sucker. What do you say? No, I can't tonight. I'm doing my last show. Oh, forget it for one night. Why don't you? Live a little. Thanks, Hank, but I can't. I'm coming over and get you away from that typewriter if I have to use force. No, I can't, Hank. The show's Sunday. Look, I got a script due tomorrow. You don't see me knocking myself out. Let him wait. Listen, Hank, you can't come over here. Don't you get it? Sure thing. Well, take it easy. Call me for lunch or something. You bet. Sorry, boy. Bye. Bye. It was close. Good scene, though. Lois Avery is just driven up in front of the building. She's getting out of the car carrying her scripts. She wears a cardigan sweater, tweed skirt, flat shoes. She's young. She's very pretty. A girl with everything to live for. Now she's disappeared into the building. In a moment she'll knock on my door. And then you'll see for yourself how youth resists the threat of death. And this, Mr. Avery, would be the proper dramatic moment to end Act One. It's bringing you, Mr. Richard Widmark, in A Murderous Revision, tonight's production in Radio's Outstanding Theatre of Thrills, Sal Spence. Hey, Hap, better turn on your lights. Best doing their own. Thank you. And thank auto-light. Why, Harlow? Because in your auto-light-equipped car, the lights as well as the power for your radio and power to crank your motor are all provided by the auto-light electrical system. It has to be good, huh, Harlow? You bet, Hap. And that's why complete auto-light electrical systems are used as original factory equipment on many leading makes of our finest cars, trucks, and tractors. And that's good enough for me, Harlow. You bet it's good, Hap. And that's why it pays to treat your car's electrical system to a periodic check-up at your authorized auto-light service station or the dealer who services your make of car. You can quickly locate your nearest authorized auto-light service station in the classified section of your telephone directory. Or by calling Western Union by number and asking for operator 25. And remember, from bumper to tail light, you're always right with auto-light. And now, auto-light brings back to our Hollywood soundstage Mr. Richard Widmark in Elliot Lewis' production of A Murderous Revision, a tale well-calculated to keep you in suspense. Act two. This is Christopher Turner once again, Mr. Avery, bringing you by transcription the first recording of an actual murder ever made specifically for broadcast. The setting? My office. The music? Recorded. The time? Night. The victim? Yourself. Your daughter has just entered the building. And so concludes the usual resume with which we begin the second act of every murder-please program. I hear footsteps in the hall. Your cue, Lois. Sound, knock on door. Come in. Hi, Lois. Come on in. Thanks. I brought the scripts with me. Wonderful, wonderful. Sit down. I hope I'm not putting you out. I always tell Dad to stop imposing on my behalf, but I guess he'll never learn.  Cigarette? No thanks. This is a nice office. It serves. Just a hole in the wall, but quiet, nothing fancy. I like it. Well, how long have you been scribbling? Six months, Mr. Turner. Let's just make it crisp. What sort of things? Murder mostly. Somebody told me that's what sells best. That's true. Well, let's just start talking about murder. Maybe something interesting will come out. Question number one. Why do you think people kill? Lots of reasons, I guess. Money, love, revenge. Not really. Only for survival.  Their idea of life. They only kill for love when life depends upon that love. They only kill for revenge when life is intolerable without it. You see? That's very interesting. Could you kill? I don't think so. Well, maybe you could. Here. See? A gun. And loaded. Please put it away. Take it. No, I'd rather not. It's very obedient. It won't fire unless you press the trigger. Take it. Now point it at me. Please, I... Now think.  One little touch. A very delicate instrument, the trigger. There's a sense of power there, you feel it? I'm afraid. Fear, yes, but exhilaration, too. Like the second drink. I feel it, yes. All right, you can give it back to me now. Well, so much for the murdery. Now, what about the victim? Afraid of death? Sometimes. What is death to you? Death? I don't know. No idea? Emptiness. Blackness. Nothing. Is that so terrible? Yes, because you really don't know. Like the dark. Do you know any more about death than you do about me? You? Yeah. Well, I know you work for Dad. Yes, but you've never even spent one hour with me.  How do you know you can trust me? I suppose I don't, really. Look at this. Please put it down. It makes me terribly nervous. Do you have any money? A little. How much? Ten dollars, maybe some change. Give it to me. Here. Why did you give me the money? Because you asked me for it. No, because you were hoping I'd put down the gun. And if I'd said a kiss, one kiss, and I'll put down the gun, what would you do? I suppose I'd... I suppose I'd give it... But a kiss, that would be harder to give, wouldn't it? Yes. Kiss me. There. Thank you. I'll put down the gun. Please. I know it's a lesson in writing and all that, but it scares me. No. But you said you would. I said nothing of the kind. And if I had said it, you'd have been foolish to believe me. You can't trust a man with a gun. You feel helpless, don't you? Yes. While you could give me money, there was hope. While you could give me love, there was hope. But if all I wanted was revenge, there'd be nothing you could do to save yourself. Nothing.  Tell me, what would you say? I try to talk you out of it. What would you say? I wouldn't know what to say. Then I'd shoot. I'd tell you about the electric chair. Very little threat to a man about to kill. Later, maybe, when he's running away, then he'd think about consequences, but not now. Now it's only kill. Now, what else? What else would you say? I'd beg him. He wouldn't listen. I'd plead with him. I'd say, please don't kill me. And if he still wouldn't listen? Then I'd die. Hello. Bet you don't know who this is. I can't place the voice. Try. I haven't the slightest idea. Remember San Francisco and the Italian pizza and the cigarette holder? Vaguely. Who is this?  Harriet. I know at least 18 Harriet's. Harriet who? Crawford. Oh. I just came in. I thought maybe you could meet me for a drink. I don't know a single solitary soul in town. How did you happen to call here? I shouldn't tell, I suppose, but Hank said you were working late at the office. Hank, huh? He gave me the number and said to be sure to call. Bless his heart. What was that? I said bless his heart. Well, I'll call you tomorrow. Yeah, you do that. Well, bye. I guess I'd better get going. Why were not even started yet? Well, if you don't put down that gun, I'm going. I don't like it. Sit down. I want to tell you a story. Now listen. Please. Please sit down. Now, this is just a sample plot. You can have it if you want it. It's about a writer who had great novels in him, great plays. But he was broke. So for the sake of a place to stay and a meal to eat, he started turning out radio mysteries. He turned them out until every drop of originality was squeezed out of him. And all the greatness he might have been ate into him because he'd leave nothing to the world, nothing but scripts to be swept up by studio janitors after the broadcast. Well, the writer made his decision one day. He'd do a last radio play, and play with an actual murder the only chance he had for permanent survival. And he selected as his victim the man who had ground him into the dust. He selected his editor and producer, Ken Avery. Please.  I like you very much. I wish this could be happening to almost anyone but you. Get to the phone. What? The telephone. What for? You're going to call your father. No. No, I won't do it. You'll call your father and you'll tell him to come up to my office. Now pick up the receiver. No, wait. I'll do it. Now take the phone. Tell him. It's ringing. Take it. Dad? What are you calling this time of night for? Something the matter? No, nothing. Lois, something's the matter. Where are you? Home? No, I'm at Mr. Turner's. Turner's? His apartment? His office. I don't feel very well. Come and take me home. I don't feel well. Here, give me the phone. Hello, Ken. Yes? Chris? Yeah, Lois came up tonight to discuss some script she wrote, but she doesn't feel very well. You better come and get her. I'll be right over. Sit down. We haven't got very long to wait. Twenty minutes have gone by. I hear the steps in the hall. There's sure plotting steps of her father, Mr. Ken Avery. The climax, ladies and gentlemen, of the listening audience I address to you. Mr. Avery will never hear this portion of the entertainment. Come in. Lois, are you? What is this? Sit down. There's a chair reserved for you. Lois, what's been going on here? Tell him, Lois.   Close the door. Chris, put that thing down. Somebody's liable to get hurt. What's the matter with you? Drinking again? Nothing to drink. Very sober. Sit down. Chris, are you crazy? Good lying. Perfectly in character. The inane cliche from the mouth of the great producer. You see, Ken, everything is being recorded right now. Your voice Lois' mine. Sit down. Recorded for what? For posterity for the show next week. You will have the honor of appearing on your own program as the murder victim. Let me show you. Right here in the desk. You see, it's a recording machine. I've stopped watched every second. It's been running exactly 25 minutes. You always made it a rule to plan the climax for 26.30 so you could have room for a final commercial. Well, that's just what I'm doing. According to my timing, you have about one minute and 30 seconds to live. All right, Chris, that's enough of the phony dramatics. I'll give me that thing before somebody gets hurt. Stand back. I wouldn't want to mistime the climax of the show. This won't make a show. You won't have much editorial power, Mr. Ravery, after a few seconds. There's the agency. They wouldn't put this thing on the air. No, why not?  From the beginning. There's the trouble right there, Chris. There's no twist. Oh, yes, the twist. Right. The surprise ending. You told the audience to expect the murder to be successful. But our shows have to have some kind of surprise for the audience, Chris. You know that. Where's the twist? Still the editor right to death's door. All right, Ken, perhaps you can provide the surprise ending that's going to save your life. I don't have to. Oh, you provided the twist yourself, but you didn't know it. And yet the twist was part of the story all the time. Where, Mr. Editor Ravery?  Me? That's right.   You wrote about love because you never had it.   Now give me that gun. You think I won't shoot? I know you won't. Give me that gun, you hack. What did you say? I said you were a hack. Now give me that gun. Stay away. Give me that gun, you hack. No, I'm not. Stand. Let go. Let go of my hand. Rub it, I said. Rub it. Let go. Chris. You always like to... It's all right, Lois. Dad, take me home. The records. They're all we have to clear us. As soon as I see what's on those records. Oh, oh, this must be part one. Let's see. The recording of an actual murder, as far as I know. Not written, not rehearsed. Spends. Presented by AutoLite, tonight's star, Mr. Richard Widmark. Friends, this is Harlow Wilcox again to remind you that AutoLite is the world's largest independent manufacturer of automotive electrical equipment. In 28 plants from coast to coast, AutoLite makes over 400 products for cars, trucks, tractors, planes and boats. These include complete electrical systems, a complete line of ignition engineered AutoLite spark plugs, both standard and resistor types. AutoLite batteries, including the famous AutoLite, stay full. AutoLite also makes automotive wire and cable bumpers and hubcaps, electric windshield wipers and many more. All are backed by constant AutoLite research and are precision built to highest standards of quality and performance. So remember, from bumper to tail light, you're always right with AutoLite. Next week on Suspense, our star will be Mr. Victor Mature, as a man who made his living as an assassin. A tale we call Black Jack to Kill. In weeks to come, we shall also present Mr. John Hodiak and Mr. Herbert Marshall, all on Suspense. Suspense is produced and transcribed by Elliot Lewis, with music composed by Lucian Morrowick and conducted by Lutt Gluskin. The murderous revision was adapted for suspense by David Ellis from a story of S. Lee Pagostin. In tonight's story, Kathy Lewis was heard as Lois, Joseph Kearns as Ken, Charlotte Lawrence as Harriet and Jerry Hausner as Hank. Tonight's appearance of Richard Widmark was made possible through the kind permission of 20th Century Fox Studios. Mr. Widmark may soon be seen in the Technicolor production, Red Skies of Montana. In the location of your nearest AutoLite service station or your nearest AutoLite spark plug or battery dealer, phone Western Union by number and ask for operator 25. Switch to AutoLite. Good night. This is the CBS Radio Network.