WEBVTT 00:00.000 --> 00:15.080 Roma wines presents Suspense. 00:15.080 --> 00:19.920 Roma wines made in California for enjoyment throughout the world. 00:19.920 --> 00:22.840 Salud, your health, senor. 00:22.840 --> 00:24.960 Roma wines toast the world. 00:24.960 --> 00:30.720 The wine for your table is Roma wine made in California for enjoyment throughout the 00:30.720 --> 00:31.720 world. 00:31.720 --> 00:37.760 This is the man in black here for the Roma Wine Company of Fresno, California to introduce 00:37.760 --> 00:41.240 this weekly half hour of Suspense. 00:41.240 --> 00:46.920 Tonight from Hollywood Roma wines bring you Miss Michelle Morgan, Mr. Philip Dawn and 00:46.920 --> 00:52.800 Mr. George Kolouris in a suspense play dealing with a painting of a beautiful woman and with 00:52.800 --> 00:59.960 a lover and a husband and with an assassination for which only the death of one of these three 00:59.960 --> 01:01.460 could atone. 01:01.460 --> 01:06.440 And so with portrait without a face and with the performances of Michelle Morgan as Colette 01:06.440 --> 01:12.400 or Philip Dawn as the artist Paul Degel and of George Kolouris as Charles Gaveau, we again 01:12.400 --> 01:23.160 hope to keep you in Suspense. 01:23.160 --> 01:27.720 It was just twilight as she came out of the cathedral on Fifth Avenue and stood for a 01:27.720 --> 01:29.800 moment on the north steps. 01:29.800 --> 01:34.760 She looked across 51st Street at the discreet grey building with the discreet bronze sign 01:34.760 --> 01:38.600 saying Furnay Gallery of Modern Art. 01:38.600 --> 01:42.760 A freshly dressed couple came out of the gallery and the doorman called a taxi. 01:42.760 --> 01:44.560 Surely it was safe now. 01:44.560 --> 01:46.360 The crowds must be gone. 01:46.360 --> 01:48.360 She hurried across the street. 01:48.360 --> 01:50.680 Good evening. 01:50.680 --> 01:52.840 The gallery is still open for a few minutes, isn't it? 01:52.840 --> 01:54.080 Well, I'm sorry, Miss. 01:54.080 --> 01:55.360 It's just closed not now. 01:55.360 --> 01:56.360 Oh, you can't be. 01:56.360 --> 01:58.320 I've come all the way from Boston and I... 01:58.320 --> 01:59.320 Well, I'm sorry, Miss. 01:59.320 --> 02:02.880 We're half an hour past closed and now we open again at 11 tomorrow. 02:02.880 --> 02:03.880 Eleven? 02:03.880 --> 02:06.640 But I can't possibly wait over... 02:06.640 --> 02:08.160 Do you think five dollars would... 02:08.160 --> 02:09.160 No, Miss. 02:09.160 --> 02:10.880 I could even go as high as ten. 02:10.880 --> 02:11.880 No, Miss. 02:11.880 --> 02:13.280 I could even go as high as... 02:13.280 --> 02:14.280 No, Miss. 02:14.280 --> 02:17.360 Oh, but there's a picture on exhibit that I must see. 02:17.360 --> 02:18.560 I'd stay only a moment. 02:18.560 --> 02:19.560 I must see it. 02:19.560 --> 02:20.560 Really, it's called... 02:20.560 --> 02:21.560 I know, Miss. 02:21.560 --> 02:22.560 It's called Portrait Without a Face. 02:22.560 --> 02:27.720 Half of New York was in to see it today and the other half will be in tomorrow. 02:27.720 --> 02:29.120 And if you'll excuse me now... 02:29.120 --> 02:31.480 Wait a moment, please. 02:31.480 --> 02:34.040 Have... have you seen the picture? 02:34.040 --> 02:35.040 Me? 02:35.040 --> 02:36.040 What did I be doing? 02:36.040 --> 02:37.040 Looking at pictures? 02:37.040 --> 02:38.360 What a waste of time. 02:38.360 --> 02:39.840 But I can tell you this. 02:39.840 --> 02:40.840 Sure got people talking. 02:40.840 --> 02:43.520 One of those critics was in here this morning and you... 02:43.520 --> 02:44.920 Eh, hold on, Miss. 02:44.920 --> 02:46.360 Maybe you can't go in after all. 02:46.360 --> 02:48.960 You see that man coming down from Madison Avenue? 02:48.960 --> 02:52.360 That's Paul Degel, the artist who painted the picture. 02:52.360 --> 02:53.360 Maybe if you would ask him... 02:53.360 --> 02:54.360 Degel? 02:54.360 --> 02:55.360 Oh, no. 02:55.360 --> 02:56.720 No, thank you. 02:56.720 --> 02:57.720 I've changed my mind. 02:57.720 --> 02:58.720 I'll... 02:58.720 --> 02:59.720 I'll come back some other time. 02:59.720 --> 03:00.720 Taxi! 03:00.720 --> 03:01.720 Taxi! 03:01.720 --> 03:06.720 Some women like to drive you crazy. 03:06.720 --> 03:10.360 Evening, Mr. Degel. 03:10.360 --> 03:12.520 Hello, John. 03:12.520 --> 03:15.320 How are you? 03:15.320 --> 03:16.320 Thank you. 03:16.320 --> 03:17.320 Fine. 03:17.320 --> 03:18.320 Is the exhibit driving people away? 03:18.320 --> 03:20.720 That woman seemed to be in an awful hurry. 03:20.720 --> 03:21.720 Huh? 03:21.720 --> 03:23.000 She was trying to get in, sir. 03:23.000 --> 03:25.400 In fact, she offered me five dollars if I... 03:25.400 --> 03:26.400 What? 03:26.400 --> 03:28.520 She offered me five dollars if I'd let her in. 03:28.520 --> 03:30.440 Then she raised it to ten and I... 03:30.440 --> 03:31.440 Wait, wait. 03:31.440 --> 03:32.440 She offered you money? 03:32.440 --> 03:36.000 Did she want to see portrait without a face? 03:36.000 --> 03:37.000 Not another. 03:37.000 --> 03:39.440 She was pretty insistent about it, too. 03:39.440 --> 03:42.240 She must have known about your work in France, Mr. Degel. 03:42.240 --> 03:43.600 Had quite a foreign accent. 03:43.600 --> 03:45.080 Foreign accent, you said. 03:45.080 --> 03:46.640 John, is Mr. Furnay in? 03:46.640 --> 03:47.640 Yes, sir, he is. 03:47.640 --> 03:48.640 He's in the back. 03:48.640 --> 03:50.400 There's some men with him. 03:50.400 --> 03:51.400 Good. 03:51.400 --> 03:52.840 I want to see those men. 03:52.840 --> 03:57.840 I want to see them immediately. 03:57.840 --> 04:00.840 Gentlemen. 04:00.840 --> 04:06.560 Paul. 04:06.560 --> 04:09.080 Gentlemen. 04:09.080 --> 04:12.080 The woman we were looking for was here tonight. 04:12.080 --> 04:13.080 Really? 04:13.080 --> 04:14.080 Paul. 04:14.080 --> 04:15.080 Yes, I'm sure of it. 04:15.080 --> 04:16.720 I missed her only by a moment. 04:16.720 --> 04:21.840 With every brushstroke I made on this canvas, I knew I was bringing her into our hands. 04:21.840 --> 04:25.360 I knew she would have to see that portrait. 04:25.360 --> 04:28.040 She had to know how much I knew. 04:28.040 --> 04:31.280 I know, gentlemen, she will be back. 04:31.280 --> 04:32.280 Paul. 04:32.280 --> 04:33.280 Yes, Henry. 04:33.280 --> 04:37.920 Will you still have the courage to finish the job when the time comes? 04:37.920 --> 04:42.560 When the time comes, I'll kill with as little conscience as I would shoot down the Nazis 04:42.560 --> 04:46.840 who have taken France. 04:46.840 --> 04:52.320 That portrait is without a face, gentlemen, because I couldn't see her face. 04:52.320 --> 04:55.520 But she will return and supply that feature. 04:55.520 --> 04:57.880 Then we will know her for what she is. 04:57.880 --> 04:59.680 She will be back. 04:59.680 --> 05:03.600 I'll stake my life on it. 05:03.600 --> 05:16.120 Tonight, for Suspense, Roma wines bring you as stars, Michel Morgan and Philip Dawn with 05:16.120 --> 05:17.120 George Calouris. 05:17.120 --> 05:23.160 You have heard them in the prologue of Louis Pelletier's story, Portrait Without a Face, 05:23.160 --> 05:34.440 which is tonight's adventure in Suspense. 05:34.440 --> 05:38.960 During this intermission of tonight's Suspense drama presented by Roma wines, let us picture 05:38.960 --> 05:42.320 a scene in the fashionable restaurant El Patio in Havana, Cuba. 05:42.320 --> 05:47.480 From the next table, we hear a Cuban judge of fine wines describe in glowing terms the 05:47.480 --> 05:50.480 wonderful climate and soil of our own California. 05:50.480 --> 05:55.040 When his American guest points out that his Cuban host has never been to the United States, 05:55.040 --> 05:59.760 the Cuban answers, it is true, I've never visited your California, but from only such 05:59.760 --> 06:05.680 perfect wine country could come sherry of such superb quality as we have enjoyed, Roma, 06:05.680 --> 06:07.160 California sherry. 06:07.160 --> 06:12.960 Yes, by their example, wine connoisseurs of many other lands tell you that in Roma wines 06:12.960 --> 06:18.040 are all the great qualities that must be present in a wine for great enjoyment. 06:18.040 --> 06:23.240 As for this reason, these wine experts of other lands import Roma wines from great distances 06:23.240 --> 06:25.960 to be enjoyed as a rare luxury. 06:25.960 --> 06:31.600 But for you, this luxury of other lands becomes a daily pleasure because you can enjoy any 06:31.600 --> 06:37.040 of Roma wines, many different taste appealing wine types without additional charge for import 06:37.040 --> 06:40.920 duties and expensive shipment from great distance. 06:40.920 --> 06:47.400 These two great Roma wine features, superb quality and small cost have made Roma wines 06:47.400 --> 06:49.880 America's largest selling wines. 06:49.880 --> 06:54.760 Why put off another day your enjoyment of this splendid quality, such thrilling taste 06:54.760 --> 06:55.760 appeal. 06:55.760 --> 07:03.480 I'll spell out the name for you, R-O-M-A, Roma wines, made in California for enjoyment 07:03.480 --> 07:06.160 throughout the world. 07:06.160 --> 07:10.480 And now it is with pleasure that we bring back to our sound stage, Michelle Morgan, 07:10.480 --> 07:16.520 Philip Dawn and George Kolouris in Portrait Without a Face, a tale well calculated to 07:16.520 --> 07:17.520 keep you in suspense. 07:17.520 --> 07:18.520 Where have you been Colette? 07:18.520 --> 07:34.840 For a walk Charles, along 50 haven't you? 07:34.840 --> 07:36.040 I needed a breath of air. 07:36.040 --> 07:37.040 You're lying. 07:37.040 --> 07:38.640 You were at the Ferney Gallery. 07:38.640 --> 07:40.720 Then I'm lying, I was at the Ferney Gallery. 07:40.720 --> 07:43.760 You fool, I told you that they'd kill you once they're sure. 07:43.760 --> 07:46.240 Yes, you told me Charles. 07:46.240 --> 07:47.240 I'm going to bed. 07:47.240 --> 07:48.880 Did you see the picture? 07:48.880 --> 07:50.160 I'm going to bed Charles. 07:50.160 --> 07:51.160 Answer my question. 07:51.160 --> 07:53.120 No, I didn't see it. 07:53.120 --> 07:55.360 What, the gallery was closed? 07:55.360 --> 07:56.360 Yes. 07:56.360 --> 07:59.360 That's good, good. 07:59.360 --> 08:01.440 Well, drink? 08:01.440 --> 08:03.000 No, thank you. 08:03.000 --> 08:04.640 You don't mind if I do? 08:04.640 --> 08:09.280 I haven't minded what you do since the second week of our marriage, Charles. 08:09.280 --> 08:10.280 Really? 08:10.280 --> 08:11.280 That distresses me. 08:11.280 --> 08:12.280 Colette. 08:12.280 --> 08:13.280 Yes? 08:13.280 --> 08:16.360 Before you go to bed, there's something here I want you to read. 08:16.360 --> 08:17.360 What is it Charles? 08:17.360 --> 08:20.800 This art magazine my dear that just came on the newsstands today, contains a charming 08:20.800 --> 08:23.560 series of reviews of the exhibit at the Ferney Gallery. 08:23.560 --> 08:27.080 René Lautrec, the French critic, has done a little piece on the picture that you are 08:27.080 --> 08:28.600 so anxious to see. 08:28.600 --> 08:32.760 He heads his review, The Murderous. 08:32.760 --> 08:33.760 Read it. 08:33.760 --> 08:34.760 Please Charles. 08:34.760 --> 08:35.760 Read it. 08:35.760 --> 08:38.040 It'll satisfy your curiosity once and for all. 08:38.040 --> 08:39.540 Begin here. 08:39.540 --> 08:41.440 This portrait. 08:41.440 --> 08:45.480 This portrait without a face is no ordinary canvas. 08:45.480 --> 08:47.520 This is a portrait of a crime. 08:47.520 --> 08:52.960 A crime etched on the mind of a man who must have been there to see it happen. 08:52.960 --> 08:56.520 One cannot describe the portrait in words. 08:56.520 --> 08:57.900 Only in action. 08:57.900 --> 08:59.260 This way. 08:59.260 --> 09:04.960 The artist is sitting in a darkened room, resting from the noise of a party upstairs 09:04.960 --> 09:05.960 in the big house. 09:05.960 --> 09:09.000 Yes, the reception for General Vauban, Paris, 1939. 09:09.000 --> 09:10.000 Go on. 09:10.000 --> 09:11.920 The artist. 09:11.920 --> 09:15.440 The artist is resting in the darkened room. 09:15.440 --> 09:16.840 Suddenly they are two shots. 09:16.840 --> 09:19.800 The sliding doors to the library open. 09:19.800 --> 09:22.520 Standing in the door, where's the silhouette of a woman in evening dress? 09:22.520 --> 09:23.520 Charles, I can't... 09:23.520 --> 09:24.520 Give it to me. 09:24.520 --> 09:26.120 The woman's back is towards the artist. 09:26.120 --> 09:27.120 He doesn't see her face. 09:27.120 --> 09:29.920 At the woman's feet is a hand outstretched. 09:29.920 --> 09:31.560 The hand of a dead man. 09:31.560 --> 09:33.920 Who is the man, Colette? 09:33.920 --> 09:34.920 Vauban. 09:34.920 --> 09:36.480 General Vauban's dead. 09:36.480 --> 09:37.760 All this happens in an instant. 09:37.760 --> 09:39.800 The picture is photographed on the brain of the artist. 09:39.800 --> 09:43.440 A woman in evening dress standing in a doorway, her back turned. 09:43.440 --> 09:48.040 That is, portrait without a face. 09:48.040 --> 09:52.200 Colette, it's time to move boldly. 09:52.200 --> 09:54.540 Paul Desjelles will have to be put out of the way now. 09:54.540 --> 09:56.560 He knows enough to be dangerous. 09:56.560 --> 09:59.760 I suppose it's somewhat of a pity to eliminate such a promising young artist. 09:59.760 --> 10:01.560 He might have gone places. 10:01.560 --> 10:06.280 However, tomorrow morning you will telephone Paul Desjelles at his apartment. 10:06.280 --> 10:08.560 You will tell him you saw his name in the art magazine. 10:08.560 --> 10:11.200 You will ask him where he's been all these years. 10:11.200 --> 10:13.400 You will say that you must see him. 10:13.400 --> 10:18.040 Your voice, and it will tremble just a little, will convey a message he's been waiting to 10:18.040 --> 10:20.360 hear all these years. 10:20.360 --> 10:21.640 You love him. 10:21.640 --> 10:31.920 After all these years, you still love him. 10:31.920 --> 10:39.120 Hello? 10:39.120 --> 10:43.720 Yes, this is Paul Desjelles. 10:43.720 --> 10:47.800 Colette, Colette, darling, where are you? 10:47.800 --> 10:48.800 Where are you? 10:48.800 --> 10:56.200 Yes, yes, naturally, every day, every moment, of course, anywhere you see. 10:56.200 --> 10:57.200 Then the Carlton? 10:57.200 --> 10:58.200 The Carlton? 10:58.200 --> 10:59.200 What time? 10:59.200 --> 11:00.200 One or two? 11:00.200 --> 11:01.200 Two. 11:01.200 --> 11:02.200 Then at two o'clock, dear. 11:02.200 --> 11:03.200 Till then... 11:03.200 --> 11:04.200 Yes, till then. 11:04.200 --> 11:05.200 I'm so happy, Colette. 11:05.200 --> 11:06.200 Goodbye. 11:06.200 --> 11:07.200 Goodbye, darling. 11:07.200 --> 11:08.200 Goodbye, Paul. 11:08.200 --> 11:09.200 That is very convincing, my dear. 11:09.200 --> 11:10.200 So much sentiment in your voice. 11:10.200 --> 11:11.200 See that it doesn't affect your actions. 11:11.200 --> 11:12.200 It's your life or his, Colette. 11:12.200 --> 11:13.200 So you've told me. 11:13.200 --> 11:14.200 Well, remember it. 11:14.200 --> 11:15.200 Stand up. 11:15.200 --> 11:16.200 Let me have a look at you. 11:16.200 --> 11:17.200 Oh, yes. 11:17.200 --> 11:18.200 Oh, you're... 11:18.200 --> 11:19.200 The crying Colette. 11:19.200 --> 11:20.200 Oh, yes. 11:20.200 --> 11:21.200 Oh, yes. 11:21.200 --> 11:22.200 Oh, yes. 11:22.200 --> 11:23.200 Oh, yes. 11:23.200 --> 11:24.200 Oh, yes. 11:24.200 --> 11:25.200 Oh, yes. 11:25.200 --> 11:26.200 Oh, yes. 11:26.200 --> 11:27.200 Oh, yes. 11:27.200 --> 11:28.200 Oh, yes. 11:28.200 --> 11:29.200 Oh, yes. 11:29.200 --> 11:30.200 Oh, yes. 11:30.200 --> 11:31.200 Oh, yes. 11:31.200 --> 11:32.380 The crying, Colette. 11:32.380 --> 11:33.380 How touching. 11:33.380 --> 11:34.600 The lovers parted. 11:34.600 --> 11:36.280 The lovers reunited. 11:36.280 --> 11:38.080 April in Paris. 11:38.080 --> 11:39.460 Chestnuts in blossom. 11:39.460 --> 11:40.800 Charles, please. 11:40.800 --> 11:43.360 Oh, wouldn't he love to know you married me. 11:43.360 --> 11:44.780 Me, of all people! 11:44.780 --> 11:47.060 And how I'd love to see you two meet. 11:47.060 --> 11:49.960 Colette, what will you say to him? 11:49.960 --> 11:58.460 What can you say, Colette? 11:58.460 --> 12:03.460 What can I say, Paul? 12:03.460 --> 12:04.460 Nothing for a moment. 12:04.460 --> 12:05.460 Just let me look at you. 12:05.460 --> 12:06.460 With Monsieur Odeur now? 12:06.460 --> 12:07.460 No, no, not yet. 12:07.460 --> 12:08.460 Not just yet. 12:08.460 --> 12:09.460 Yes, wait. 12:09.460 --> 12:10.460 Bring us two charries, will you? 12:10.460 --> 12:11.460 Yes, thank you, Monsieur. 12:11.460 --> 12:12.460 I'm changed, Paul. 12:12.460 --> 12:13.460 You can see that. 12:13.460 --> 12:14.460 A little. 12:14.460 --> 12:15.460 A deepness around the eyes, perhaps. 12:15.460 --> 12:16.460 You've been unhappy, Colette. 12:16.460 --> 12:17.460 Yes. 12:17.460 --> 12:18.460 I wrote you almost every day for the last two days. 12:18.460 --> 12:19.460 I'm sorry. 12:19.460 --> 12:20.460 I'm sorry. 12:20.460 --> 12:21.460 I'm sorry. 12:21.460 --> 12:22.460 I'm sorry. 12:22.460 --> 12:23.460 I'm sorry. 12:23.460 --> 12:24.460 I'm sorry. 12:24.460 --> 12:25.460 I'm sorry. 12:25.460 --> 12:26.460 I'm sorry. 12:26.460 --> 12:27.460 I'm sorry. 12:27.460 --> 12:28.460 I'm sorry. 12:28.460 --> 12:29.460 I'm so sorry I couldn't help but think. 12:29.460 --> 12:30.460 Iürü, yes. 12:30.460 --> 12:31.460 I told you. 12:31.460 --> 12:32.460 Okay. 12:32.460 --> 12:33.460 Are you very happy? 12:33.460 --> 12:34.460 Yes. 12:34.460 --> 12:35.460 People often forget their friends. 12:35.460 --> 12:36.460 When someone forgets their friends. 12:36.460 --> 12:37.460 Some people forget their friends. 12:37.460 --> 12:38.460 I'm very happy you人es creed itself. 12:38.460 --> 12:39.460 I'm happy you Fam violated me. 12:39.460 --> 12:40.460 Of course, you are. 12:40.460 --> 12:41.460 In other words, he made you feel very suspicious, Colette. 12:41.460 --> 12:42.460 I'm not saying you must be afraid of him because he's your first bar searched by you. 12:42.460 --> 12:43.460 I saw it yourself. 12:43.460 --> 12:44.460 It seems your old friend. 12:44.460 --> 12:45.460 Let's go to school, Paul. 12:45.460 --> 12:46.460 Don't Per rév Millennials. 12:46.460 --> 12:35.040 I think I'm going to have a hard time because I have to put a 12:35.040 --> 12:47.460 curse on you and she got married. 12:47.460 --> 12:48.460 What do you say. 12:48.460 --> 12:49.460 Good ruin, Paul. 12:49.460 --> 12:50.660 How insane he was about you. 12:50.660 --> 12:52.420 Oh, please, Paul, don't talk about Charles. 12:52.420 --> 12:55.620 I thought if you ever married Capuodin... 12:55.620 --> 12:57.100 I'm sorry. 12:57.100 --> 12:59.860 There's so much I don't know about your life. 12:59.860 --> 13:01.260 Four years. 13:01.260 --> 13:03.100 Oh, I knew everything about you. 13:03.100 --> 13:05.180 Yeah, press notices. 13:05.180 --> 13:07.780 I wanted to be a success for you, Colette. 13:07.780 --> 13:10.140 I followed everything you did. 13:10.140 --> 13:13.220 The prison camp, I remember that. 13:13.220 --> 13:17.780 When you escaped to this country, your first exhibit here, 13:17.780 --> 13:20.020 you had all the clippings. 13:20.020 --> 13:21.820 Oh, I was so happy for you, Paul. 13:21.820 --> 13:25.020 I was so glad they believed in you as I did. 13:25.020 --> 13:27.060 Yes, you have been good to me in this country. 13:27.060 --> 13:28.420 Very good to me. 13:28.420 --> 13:29.340 More than I deserve. 13:29.340 --> 13:31.100 No, not more. 13:31.100 --> 13:33.620 Only you're just you. 13:33.620 --> 13:35.340 I know. 13:35.340 --> 13:38.900 I've read the reviews of the exhibit at the Ferney Gallery. 13:38.900 --> 13:40.860 Yes, they seem to like that. 13:40.860 --> 13:44.260 Paul, I want to see that exhibit. 13:44.260 --> 13:46.300 Of course, Colette, any time. 13:46.300 --> 13:48.460 No, not any time. 13:48.460 --> 13:52.860 I want you to show it to me tonight. 13:52.860 --> 13:53.860 Tonight? 13:53.860 --> 13:55.620 Please, Paul. 13:55.620 --> 14:00.980 After the crowds have gone from the gallery, 14:00.980 --> 14:04.380 my first look at your work in so many years, 14:04.380 --> 14:07.380 I don't want to share it with anyone. 14:07.380 --> 14:11.380 I just want there to be you and I. 14:11.380 --> 14:13.740 Well, then that's how you shall have it. 14:13.740 --> 14:15.780 Darling, of course, I want you to see it. 14:15.780 --> 14:19.540 I want you to see every piece in the exhibit. 14:19.540 --> 14:23.660 There is one that has attracted considerable attention. 14:23.660 --> 14:26.780 Portrait without a face. 14:26.780 --> 14:27.700 Oh. 14:27.700 --> 14:29.380 Oh, yes. 14:29.380 --> 14:31.900 I read about that one. 14:31.900 --> 14:34.420 There was much of my life in that painting, Colette. 14:34.420 --> 14:36.140 Certainly much of the past four years. 14:36.140 --> 14:38.460 But your work on it has been so worthwhile. 14:38.460 --> 14:39.940 No, no, not entirely. 14:39.940 --> 14:42.100 Not just yet. 14:42.100 --> 14:45.540 Colette, do you remember the death of Jean-Paul Faux-Bin? 14:45.540 --> 14:47.220 Faux-Bin? 14:47.220 --> 14:50.220 That was some time in 1940, wasn't it? 14:50.220 --> 14:52.940 1939, the year you left Paris. 14:52.940 --> 14:54.660 Oh, yes, that's right. 14:54.660 --> 14:57.860 As you recall, Faux-Bin was the greatest advocate of air power. 14:57.860 --> 15:00.860 There were people in Paris who hated Faux-Bin 15:00.860 --> 15:02.940 and wanted him out of the way. 15:02.940 --> 15:05.300 Your friend Charles Cavo and his newspapers 15:05.300 --> 15:07.820 were the general's bitterest enemies. 15:07.820 --> 15:09.700 And do you know a curious thing, Colette? 15:09.700 --> 15:10.700 What, Paul? 15:10.700 --> 15:13.340 Some of the best people in France were duped by Cavo's newspapers 15:13.340 --> 15:15.140 into believing that Faux-Bin was an arch-criminal. 15:15.140 --> 15:17.100 Yes, yes, I remember. 15:17.100 --> 15:22.060 Briefly, some deluded woman fancied herself a modern Joan of Arc 15:22.060 --> 15:25.140 and killed Faux-Bin, thinking she was saving her country. 15:25.140 --> 15:26.380 A woman? 15:26.380 --> 15:30.140 But they say the crime was never solved. 15:30.140 --> 15:35.460 It wasn't, but it will be, I think, very soon. 15:35.460 --> 15:38.380 Yes, I'm sure that... 15:38.380 --> 15:39.660 Forgive me, darling. 15:39.660 --> 15:41.820 I hadn't meant to burden you with this. 15:41.820 --> 15:44.860 Oh, it is yourself you must not burden, Paul. 15:44.860 --> 15:49.540 You have given this matter much of your life, 15:49.540 --> 15:51.540 much of your thought, haven't you? 15:51.540 --> 15:55.540 All of my thought, Colette, when I wasn't thinking of you. 15:55.540 --> 15:56.540 Or painting. 15:56.540 --> 15:57.540 Painting? 15:57.540 --> 15:59.540 When I was painting, I thought of you most. 15:59.540 --> 16:02.540 I think that in every picture there was something of you. 16:02.540 --> 16:04.540 Sometimes the light on your hair, 16:04.540 --> 16:07.540 sometimes the way you hold your hand... 16:07.540 --> 16:10.540 Even in portrait without a face? 16:10.540 --> 16:13.540 Is there something of me in that one? 16:13.540 --> 16:15.540 Two cherries, monsieur. 16:15.540 --> 16:17.540 Oh, yes, thank you. 16:17.540 --> 16:19.540 Yes, Colette, I think that even in that one 16:19.540 --> 16:21.540 there's something of you. 16:21.540 --> 16:24.540 And it's very strange because you... 16:24.540 --> 16:28.540 Well, anyway, tonight you'll see for yourself. 16:28.540 --> 16:30.540 To you, darling. 16:30.540 --> 16:32.540 To our reunion, Paul. 16:32.540 --> 16:35.540 To our reunion, that's what she said, gentlemen. 16:35.540 --> 16:37.540 To our reunion. 16:37.540 --> 16:40.540 You are sure, Paul, that she does not suspect? 16:40.540 --> 16:41.540 Positive. 16:41.540 --> 16:45.540 She is utterly convinced that I am as blindly infatuated with her as ever. 16:45.540 --> 16:47.540 She is convinced that in my blindness 16:47.540 --> 16:51.540 I shall step out upon the stage she has set for me. 16:51.540 --> 16:55.540 I am convinced that I am as blinded as she is. 16:55.540 --> 16:59.540 I am convinced that I am as blinded as she is. 16:59.540 --> 17:03.540 I am convinced that I am as blinded as she is. 17:03.540 --> 17:06.540 We shall see who has set the stage. 17:06.540 --> 17:09.540 We shall see who portrays the victim. 17:09.540 --> 17:11.540 It will take courage, Paul. 17:11.540 --> 17:12.540 Perhaps. 17:12.540 --> 17:14.540 There are not many who have your kind of courage. 17:14.540 --> 17:17.540 No, there are not many who have my kind of hate 17:17.540 --> 17:19.540 or who have waited so long to spend it. 17:19.540 --> 17:21.540 But have no fear, gentlemen. 17:21.540 --> 17:23.540 You will see that I do not fail. 17:23.540 --> 17:26.540 You will be with me tonight, all of you. 17:26.540 --> 17:28.540 With you? I do not understand. 17:28.540 --> 17:34.540 I have already said you will be present in the wings just off the stage. 17:34.540 --> 17:36.540 It's just ten now. 17:36.540 --> 17:39.540 In less than an hour my guest will arrive. 17:39.540 --> 17:43.540 Before long, he will come into this room to see the portrait. 17:43.540 --> 17:45.540 The room will be quite dark. 17:45.540 --> 17:47.540 You will be in the background. 17:47.540 --> 17:59.540 There will be no way to prevent that. 17:59.540 --> 18:01.540 You have much time. Are you ready? 18:01.540 --> 18:02.540 Yes. 18:02.540 --> 18:03.540 Wait, which purse are you carrying? 18:03.540 --> 18:04.540 That black one on the table. 18:04.540 --> 18:05.540 Hand it to me. 18:05.540 --> 18:08.540 Good. Just the right size. 18:08.540 --> 18:11.540 Oh, don't look so wide-eyed and innocent. 18:11.540 --> 18:12.540 You've seen a pistol loaded before? 18:12.540 --> 18:14.540 Charles, couldn't we? 18:14.540 --> 18:18.540 Perhaps it would be best for me to have a look in on you and Desjardins this evening. 18:18.540 --> 18:19.540 Oh, please, Charles. 18:19.540 --> 18:21.540 How do I know that you'll do what you're told? 18:21.540 --> 18:23.540 You said it was his life or mine. 18:23.540 --> 18:25.540 But you're a sentimental fool. You might we... 18:25.540 --> 18:26.540 I'll do what I'm told. 18:26.540 --> 18:27.540 Very well. 18:27.540 --> 18:30.540 Remember, I'll be waiting across the street on the cathedral steps. 18:30.540 --> 18:32.540 I'll give you till eleven o'clock. 18:32.540 --> 18:33.540 If you're not out at eleven... 18:33.540 --> 18:34.540 I'll be out. 18:34.540 --> 18:38.540 Yes. Yes, you'd better be. 18:38.540 --> 18:40.540 Ready to fire. Here's your purse. 18:40.540 --> 18:43.540 The pistol, you see, on top. 18:43.540 --> 18:45.540 Watch out when you pay the cab fare. 18:45.540 --> 18:46.540 Yes, Charles. 18:46.540 --> 18:49.540 I'll be waiting for you on the cathedral steps. 18:49.540 --> 18:51.540 And you have till eleven o'clock. 19:03.540 --> 19:05.540 Do you remember this picture, Colette? 19:05.540 --> 19:06.540 Oh, Paul, of course. 19:06.540 --> 19:09.540 That was the summer we were at Nice. 19:09.540 --> 19:10.540 Lovely summer, wasn't it? 19:10.540 --> 19:12.540 Oh, so lovely. 19:12.540 --> 19:14.540 You see the fishing boat, Lirondelle? 19:14.540 --> 19:16.540 Remember her? 19:16.540 --> 19:19.540 Oh, too well. She made me seasick once. 19:19.540 --> 19:21.540 But it was a beautiful summer, Paul. 19:21.540 --> 19:23.540 Wonderful summer. 19:23.540 --> 19:25.540 Yes. Yes, it was. 19:25.540 --> 19:28.540 Well, that's all of the Paris pictures. 19:28.540 --> 19:30.540 Now, uh... 19:30.540 --> 19:32.540 Now I guess you would like to see the... 19:32.540 --> 19:34.540 the portrait. 19:34.540 --> 19:36.540 Yes. 19:36.540 --> 19:38.540 Now I'd like to see it. 19:38.540 --> 19:39.540 It's in the next room. 19:39.540 --> 19:42.540 They have given it a room by itself. 19:42.540 --> 19:43.540 Oh. 19:43.540 --> 19:44.540 Take my hand, Colette. 19:44.540 --> 19:46.540 I've kept the lights out in there. 19:46.540 --> 19:47.540 I want you to sit on the bench. 19:47.540 --> 19:49.540 Then I'll turn the lights on. 19:49.540 --> 19:51.540 And you will see the picture as... 19:51.540 --> 19:52.540 as I saw it. 19:52.540 --> 19:54.540 I mean, in my mind's eye. 19:54.540 --> 19:55.540 Yes, Paul. 19:55.540 --> 19:57.540 This way. Now, careful. 19:57.540 --> 19:59.540 Two steps down. 20:03.540 --> 20:05.540 You are trembling, Colette. 20:05.540 --> 20:07.540 I've always been afraid of the dark. 20:07.540 --> 20:08.540 Here's the bench. 20:08.540 --> 20:10.540 Sit here. No, no, no, no. Sit here. 20:10.540 --> 20:13.540 You're in front of the picture now. 20:13.540 --> 20:15.540 I'm going to turn on the light. 20:15.540 --> 20:17.540 Hurry, Paul. I don't like this. 20:17.540 --> 20:20.540 I just want to give you the full effect of it. 20:20.540 --> 20:22.540 Are you watching? 20:22.540 --> 20:23.540 Straight ahead. 20:23.540 --> 20:24.540 Yes, Paul. 20:24.540 --> 20:25.540 So... 20:25.540 --> 20:27.540 May I present then... 20:27.540 --> 20:30.540 my portrait without a face? 20:30.540 --> 20:32.540 Oh, Paul! 20:35.540 --> 20:37.540 Oh, Paul. 20:37.540 --> 20:39.540 I thought you would find it effective. 20:39.540 --> 20:41.540 Now we'll put aside pretense. 20:41.540 --> 20:43.540 You know who that woman is. 20:43.540 --> 20:44.540 She's Colette. 20:44.540 --> 20:47.540 Standing in the doorway of General Vauban's library. 20:47.540 --> 20:49.540 The hand of the dead man at her feet 20:49.540 --> 20:51.540 is the hand of General Vauban, my friend. 20:51.540 --> 20:54.540 The blood on the floor is the blood of Vauban. 20:54.540 --> 20:57.540 The blood that is touching the evening slipper of Colette. 20:57.540 --> 20:58.540 Stop it, Paul. Stop it! 20:58.540 --> 21:01.540 I've waited a long time for you, Colette. Four years. 21:01.540 --> 21:04.540 I said then that I would make someone pay for the murder of General Vauban. 21:04.540 --> 21:06.540 We have a committee, Colette. 21:06.540 --> 21:08.540 We formed it back there in Paris in the dark days, 21:08.540 --> 21:10.540 just before the war broke out. 21:10.540 --> 21:13.540 The committee knows everything about the people who planned the death of Vauban. 21:13.540 --> 21:15.540 The committee knows who did the murder itself. 21:15.540 --> 21:20.540 Settling with that person has been my special assignment. 21:20.540 --> 21:23.540 I have been your special assignment. 21:23.540 --> 21:25.540 Your special prize. 21:25.540 --> 21:27.540 Is that what you mean? 21:27.540 --> 21:29.540 That's what I mean. 21:29.540 --> 21:31.540 I don't care really. Not now. 21:31.540 --> 21:33.540 You cared enough to want to fight back. 21:33.540 --> 21:34.540 You came here armed. 21:34.540 --> 21:36.540 Oh, no, no, no, no, no. Don't open your purse. 21:36.540 --> 21:40.540 I took the trouble to remove the pistol while you were taking off your coat. 21:40.540 --> 21:43.540 No, no, not this one in my right hand. That's mine. 21:43.540 --> 21:46.540 This one. This pistol here. 21:46.540 --> 21:48.540 It is yours, isn't it? 21:48.540 --> 21:49.540 Yes. 21:49.540 --> 21:52.540 French make. Did Charles give it to you? 21:52.540 --> 21:53.540 Charles? 21:53.540 --> 21:56.540 Yes, Charles. I knew you married Charles. 21:56.540 --> 21:59.540 I found it out just before I lost track of you two years ago. 21:59.540 --> 22:02.540 I knew you married Charles and I knew why. 22:02.540 --> 22:04.540 And you told me this afternoon. 22:04.540 --> 22:07.540 Yes, I made you believe that I didn't know about Charles. 22:07.540 --> 22:09.540 I want you to come up here to the gallery. 22:09.540 --> 22:14.540 I knew you had to come here to find out how much I knew. 22:14.540 --> 22:17.540 Charles was right. He said it was your life or mine. 22:17.540 --> 22:19.540 He's very clever, Charles. 22:19.540 --> 22:22.540 Do you remember when you first met him and I warned you away? 22:22.540 --> 22:23.540 I remember. 22:23.540 --> 22:26.540 You were impressed by Charles and his politically wise friends. 22:26.540 --> 22:29.540 But you didn't know that Charles had sold out his country. 22:29.540 --> 22:30.540 I didn't know. 22:30.540 --> 22:32.540 You were duped into believing that Vauban was a traitor. 22:32.540 --> 22:36.540 Charles dominated your mind. He controlled you as an hypnotist. 22:36.540 --> 22:40.540 They needed someone to murder Vauban, so you were chosen. 22:40.540 --> 22:43.540 You were to be the savior of France. 22:43.540 --> 22:46.540 You excelled in the role and you believed it. 22:46.540 --> 22:50.540 Yes, up to the very last, up to the last moment. 22:50.540 --> 22:53.540 Then I didn't see how I could go through with it. 22:53.540 --> 22:57.540 I couldn't bear the thought of killing a man. 22:57.540 --> 22:58.540 You're lying, Collette. 22:58.540 --> 23:00.540 No, Paul, no, listen to me. 23:00.540 --> 23:04.540 I stood there looking at Vauban, the pistol in my hand. 23:04.540 --> 23:08.540 He looked up, he started walking toward me, telling me to give him the pistol. 23:08.540 --> 23:12.540 I felt dizzy. Oh, I wanted to run away too. 23:12.540 --> 23:16.540 But I, I raised the pistol. 23:16.540 --> 23:19.540 There were two shots. 23:19.540 --> 23:22.540 And he fell at my feet. 23:22.540 --> 23:23.540 I dropped the gun. 23:23.540 --> 23:26.540 Then you opened the library door to escape. 23:26.540 --> 23:29.540 Yes, I ran out on the terrace and through the garden. 23:29.540 --> 23:33.540 I ran blindly and fell. 23:33.540 --> 23:36.540 Then I felt a strong pair of arms lift me up. 23:36.540 --> 23:37.540 Charles was there. 23:37.540 --> 23:39.540 You told him you had killed Vauban. 23:39.540 --> 23:42.540 Yes, I begged him to take me away too. 23:42.540 --> 23:45.540 I needed someone desperately. 23:45.540 --> 23:50.540 He promised me to take me out of France and let me forget. 23:50.540 --> 23:52.540 Oh, Paul. 23:52.540 --> 23:56.540 Paul, turn out the light on that horrible picture, please. 23:56.540 --> 23:58.540 The light stays on, Collette. 23:58.540 --> 24:02.540 I want you to keep looking at the picture. 24:02.540 --> 24:05.540 That picture was painted for a purpose. 24:05.540 --> 24:07.540 And now the purpose is going to be fulfilled. 24:07.540 --> 24:11.540 Paul, will you believe that I didn't want to kill Vauban? 24:11.540 --> 24:13.540 Four years I've waited, Collette. 24:13.540 --> 24:15.540 Now it works out according to plan. 24:15.540 --> 24:17.540 I didn't want to kill a man. 24:17.540 --> 24:21.540 I didn't want to go away with Charles, but I was in too deep. 24:21.540 --> 24:26.540 Paul, Paul, listen to me. 24:26.540 --> 24:29.540 I've loved you, always. 24:29.540 --> 24:31.540 You must know that. 24:31.540 --> 24:32.540 After tonight? 24:32.540 --> 24:34.540 After you're coming here to kill me? 24:34.540 --> 24:36.540 Open my gun, Paul. 24:36.540 --> 24:38.540 Open it up. 24:38.540 --> 24:40.540 You'll see that it's empty. 24:40.540 --> 24:43.540 I took the shells out on my way here. 24:43.540 --> 24:47.540 Why don't you do it, Paul? It's true. 24:47.540 --> 24:50.540 I knew I couldn't go through with it. 24:50.540 --> 24:52.540 Not this time. 24:52.540 --> 24:55.540 Not with you. 24:55.540 --> 24:57.540 Paul. 24:57.540 --> 24:59.540 It's too late, Collette. 24:59.540 --> 25:00.540 Paul. 25:00.540 --> 25:02.540 Keep sitting on the bench, Collette. 25:02.540 --> 25:04.540 Keep looking at the picture. 25:04.540 --> 25:05.540 Don't move. 25:05.540 --> 25:07.540 I won't. 25:07.540 --> 25:09.540 I won't, but you must believe me. 25:09.540 --> 25:11.540 Paul, Paul, wait! 25:11.540 --> 25:13.540 Just look at the picture, Collette. 25:13.540 --> 25:15.540 The picture. 25:15.540 --> 25:16.540 Listen. 25:16.540 --> 25:17.540 Please listen. 25:17.540 --> 25:20.540 I'm telling the truth, Paul. 25:20.540 --> 25:23.540 My gun wasn't loaded. 25:23.540 --> 25:26.540 Listen, Paul! 25:26.540 --> 25:28.540 For you, Dijon. 25:28.540 --> 25:30.540 And you, mister. 25:37.540 --> 25:38.540 Oh, heavens. 25:38.540 --> 25:40.540 Paul, are you all right? 25:40.540 --> 25:43.540 Yes, yes, I'm all right, gentlemen. 25:43.540 --> 25:49.540 Gentlemen, may I present the late Monsieur Charles Gaveau. 25:49.540 --> 25:51.540 Four years. 25:51.540 --> 25:55.540 Four years of painting and planning and waiting. 25:55.540 --> 25:58.540 Paul, take me out of here. 25:58.540 --> 26:00.540 Yes, darling. 26:00.540 --> 26:03.540 Collette, I'm sorry I had to do this to you. 26:03.540 --> 26:05.540 It was the only way to find him. 26:05.540 --> 26:08.540 I knew he was here to kill again. 26:08.540 --> 26:10.540 Both of us. 26:10.540 --> 26:11.540 Charles? 26:11.540 --> 26:12.540 Charles killed Vauban. 26:12.540 --> 26:14.540 I picked up the pistol you dropped that night, Collette. 26:14.540 --> 26:16.540 It had never been fired. 26:16.540 --> 26:19.540 Charles was never certain you would have the nerve to go through with it. 26:19.540 --> 26:22.540 At the last moment, he took a hint himself. 26:22.540 --> 26:25.540 The shots that killed Vauban were fired from the terrace. 26:25.540 --> 26:29.540 In your terror, you believe that you did it. 26:29.540 --> 26:31.540 Charles let you believe it all these years. 26:31.540 --> 26:33.540 Oh, Paul. 26:33.540 --> 26:35.540 I knew he would follow you here tonight. 26:35.540 --> 26:37.540 I left the door open for him. 26:37.540 --> 26:40.540 He came downstairs when we entered his room. 26:40.540 --> 26:42.540 He could hear us talking. 26:42.540 --> 26:43.540 I wanted him to hear. 26:43.540 --> 26:46.540 I needed time, time, Collette. 26:46.540 --> 26:48.540 Collette, I'm sorry. 26:48.540 --> 26:51.540 That was the only way to meet him face to face. 26:51.540 --> 26:52.540 Oh, Paul. 26:52.540 --> 26:54.540 Don't ever leave me. 26:54.540 --> 26:56.540 Never, never leave me. 26:56.540 --> 26:58.540 Never, Collette. 26:58.540 --> 27:00.540 We are together now. 27:00.540 --> 27:02.540 For always. 27:02.540 --> 27:06.540 But before we go, there's one thing left. 27:06.540 --> 27:10.540 You see this knife. 27:10.540 --> 27:15.540 For us, that is the end of portrait without a face. 27:27.540 --> 27:33.540 And so closes Portrait Without a Face, starring Michelle Morgan, Philip Dawn, and George Kolouris. 27:33.540 --> 27:37.540 Tonight's tale of suspense. 27:37.540 --> 27:41.540 Miss Morgan is currently being seen in Warner Brothers' Passage to Marseilles. 27:41.540 --> 27:45.540 Mr. Dawn appeared through the courtesy of Metro-Goldwyn-Mayer, producers of Madame Curie. 27:45.540 --> 27:51.540 You know, if we could bring to this microphone a man typical of all Roma wine dealers, this is what he might tell you. 27:51.540 --> 27:54.540 I sell a lot of the good Roma wines. 27:54.540 --> 27:58.540 They are, you know, America's largest selling wines. 27:58.540 --> 28:04.540 My Roma wine customers, I've noticed, are sociable people who enjoy entertaining friends. 28:04.540 --> 28:12.540 Talking with me, they give a lot of credit for the success of their entertaining to the enjoyable Roma wines they serve. 28:12.540 --> 28:16.540 They're thrifty people, too, these buyers of Roma wines. 28:16.540 --> 28:20.540 What else could offer so much enjoyment for so little cost? 28:20.540 --> 28:23.540 Only pennies a glass by actual check. 28:23.540 --> 28:26.540 Now, that doesn't leave much for me to add, except this, perhaps. 28:26.540 --> 28:30.540 If you are not already one of the millions enjoying Roma wines regularly, 28:30.540 --> 28:36.540 make your own taste test of any of Roma wine's many different taste-delighting California wine types, 28:36.540 --> 28:42.540 such as the delicious Tangy Roma Sherry, or the hearty Roma Burgundy, or the sweeter, heavier Roma Port, 28:42.540 --> 28:46.540 and discover for yourself why Roma wines are winning international praise. 28:46.540 --> 28:51.540 Voiced in this phrase, Roma wines are truly magnificent. 28:51.540 --> 29:00.540 Let me repeat the name, R-O-M-A, Roma wines, made in California for enjoyment throughout the world. 29:00.540 --> 29:04.540 Suspense is produced and directed by William Spear. 29:04.540 --> 29:10.540 Don't forget, then, next Thursday for Alan Ladd in Suspense. 29:10.540 --> 29:30.540 Presented by Roma wines, R-O-M-A, made in California for enjoyment throughout the world. 29:30.540 --> 29:40.540 This is CBS, the Columbia Broadcasting System.