1 00:00:00,000 --> 00:00:04,000 Now, Roma wines present... 2 00:00:04,000 --> 00:00:10,000 Suspense! 3 00:00:10,000 --> 00:00:25,000 Tonight, a thing of beauty starring June Dupree. 4 00:00:25,000 --> 00:00:30,000 Suspense is presented for your enjoyment by Roma Wines. 5 00:00:30,000 --> 00:00:32,000 That's R-O-M-A, Roma Wines. 6 00:00:32,000 --> 00:00:37,000 Those excellent California wines that can add so much pleasantness to the way you live. 7 00:00:37,000 --> 00:00:39,000 To your happiness and entertaining guests. 8 00:00:39,000 --> 00:00:42,000 To your enjoyment of everyday meals. 9 00:00:42,000 --> 00:00:45,000 Yes, right now a glass full would be very pleasant. 10 00:00:45,000 --> 00:00:48,000 As Roma Wines bring you... 11 00:00:48,000 --> 00:00:51,000 Suspense! 12 00:00:51,000 --> 00:00:56,000 Suspense is the man in black here for the Roma Wine Company of Fresno, California. 13 00:00:56,000 --> 00:01:01,000 Tonight in the absence of Ida Lupino, who was prevented from being with us because of illness. 14 00:01:01,000 --> 00:01:06,000 We are fortunate in being able to bring to you as star the actress whose performance in the RKO production, 15 00:01:06,000 --> 00:01:13,000 None But the Lonely Heart, has recently won her an award for one of the ten best of the year, Miss June Dupree. 16 00:01:13,000 --> 00:01:17,000 Miss Dupree appears tonight in a drama of crime and passion and punishment. 17 00:01:17,000 --> 00:01:21,000 As unfolded in a narrative of a celebrated actress of yesteryear. 18 00:01:21,000 --> 00:01:27,000 And so with A Thing of Beauty, and with the performance of June Dupree as Madeline Tremaine, 19 00:01:27,000 --> 00:01:29,000 We again hope to keep you in... 20 00:01:29,000 --> 00:01:31,000 Suspense! 21 00:01:31,000 --> 00:01:34,000 Suspense! 22 00:01:44,000 --> 00:01:47,000 You will give me your arm? Thank you. 23 00:01:47,000 --> 00:01:50,000 I think we should just miss the storm if we hurry. 24 00:01:50,000 --> 00:01:52,000 A rather somber place, isn't it? 25 00:01:52,000 --> 00:01:55,000 Oh, it gives her seclusion and that's all she's ever asked for since she came here. 26 00:01:55,000 --> 00:01:58,000 That and what little spiritual comfort I've been able to give her. 27 00:01:58,000 --> 00:02:01,000 How long ago was that, sir? That she came here, I mean? 28 00:02:01,000 --> 00:02:04,000 Eight, no, no, nine years ago in March. 29 00:02:04,000 --> 00:02:06,000 But it was long before that she left the stage. 30 00:02:06,000 --> 00:02:10,000 Oh, she was nearly ten years in an institution. A mental disorder. 31 00:02:10,000 --> 00:02:14,000 Though it's not her mind that was ever sick, unless I'm mistaken. 32 00:02:14,000 --> 00:02:16,000 I do say she's a bit on the eccentric side. 33 00:02:16,000 --> 00:02:21,000 Oh, I don't believe in gossip. You'll be her spiritual advisor soon enough when I've retired. 34 00:02:21,000 --> 00:02:23,000 And I want you to meet her without prejudice. 35 00:02:23,000 --> 00:02:26,000 And one day I'll tell you what I know, which is little enough. 36 00:02:26,000 --> 00:02:30,000 And what I have reason to believe, which is more. 37 00:02:30,000 --> 00:02:34,000 Oh, it seems we'll just about escape a drenching. 38 00:02:36,000 --> 00:02:39,000 She lives completely alone. Her other one's servant, that's all. 39 00:02:40,000 --> 00:02:42,000 Oh, Father Robinson. 40 00:02:42,000 --> 00:02:46,000 Oh, Suzette, this is my new curate, the Reverend Missy Sedley. 41 00:02:46,000 --> 00:02:48,000 We are here to see Miss Plain. 42 00:02:48,000 --> 00:02:50,000 Really? Does she know you're not alone? 43 00:02:50,000 --> 00:02:52,000 My good Suzette, I haven't any idea. 44 00:02:52,000 --> 00:02:55,000 But you might let us in out of the rain while you so inform her if you will. 45 00:02:55,000 --> 00:02:58,000 But if... very well, come in. 46 00:02:59,000 --> 00:03:03,000 If you will wait in the study, I will ask if Mademoiselle is able to see you. 47 00:03:04,000 --> 00:03:06,000 What in the world got into the woman? 48 00:03:06,000 --> 00:03:10,000 She knows Miss Tremaine's been seeing me every fortnight at the same time for nine years. 49 00:03:10,000 --> 00:03:13,000 There's a picture here. Is it of her? 50 00:03:13,000 --> 00:03:14,000 Probably. 51 00:03:14,000 --> 00:03:16,000 My words, she was a beauty. 52 00:03:16,000 --> 00:03:19,000 Your father could have told you. She was a legend of two continents. 53 00:03:19,000 --> 00:03:23,000 Must have been a very tragic thing to make a woman like that shut herself away. 54 00:03:23,000 --> 00:03:26,000 Is it true, sir, that she sees no one but you? 55 00:03:26,000 --> 00:03:30,000 As far as I know, she has never set foot outside this house in all the time she's been here. 56 00:03:30,000 --> 00:03:33,000 Nor has she ever had a single visitor beside myself. 57 00:03:33,000 --> 00:03:42,000 Why? I think because she hopes that somehow, someday, a man of God will help her to find peace. 58 00:03:42,000 --> 00:03:45,000 And she doesn't care to face the world until she's found one. 59 00:03:47,000 --> 00:03:51,000 Mademoiselle will see you now, Fabio, in her parlor across the hall. 60 00:03:51,000 --> 00:03:53,000 Oh, thank you. 61 00:03:55,000 --> 00:03:59,000 Well, Father Benton, come in. Come in. 62 00:03:59,000 --> 00:04:03,000 I do hope you don't mind my receiving you in the dark. 63 00:04:03,000 --> 00:04:07,000 But I have a mortal dread of light during a storm. 64 00:04:07,000 --> 00:04:08,000 Not at all. 65 00:04:08,000 --> 00:04:11,000 You'll find two quite comfortable chairs just there by the window, I think. 66 00:04:11,000 --> 00:04:15,000 Thank you. Madeline, this is my new curate, Mr. Sedley. 67 00:04:15,000 --> 00:04:17,000 Oh, yes, Mr. Sedley. 68 00:04:17,000 --> 00:04:20,000 It's a great pleasure, Miss Tremaine, to meet such a famous beauty. 69 00:04:20,000 --> 00:04:22,000 Even in the dark. 70 00:04:22,000 --> 00:04:26,000 Ah, so you've heard of my beauty, of course, Mr. Sedley. 71 00:04:26,000 --> 00:04:30,000 You know, as you came in, I was looking at this little gold mirror, 72 00:04:30,000 --> 00:04:33,000 engraved on the back of the words, 73 00:04:33,000 --> 00:04:36,000 a thing of beauty is a joy forever. 74 00:04:36,000 --> 00:04:37,000 Ah, geese. 75 00:04:37,000 --> 00:04:42,000 Yes. Oscar gave it to me. He said it was a magic mirror. 76 00:04:42,000 --> 00:04:44,000 Was that Oscar Wilde, Miss Tremaine? 77 00:04:44,000 --> 00:04:49,000 Yes. Dear Oscar, dear dead days. 78 00:04:49,000 --> 00:04:54,000 Ah, I suppose you've already heard all the wild tales of my lurid past, Mr. Sedley. 79 00:04:54,000 --> 00:04:56,000 Oh, no, Miss Tremaine, I assure you I have. 80 00:04:56,000 --> 00:05:01,000 I don't believe that Father Bentham has ever caught me in a reminiscing mood, have you, Father? 81 00:05:01,000 --> 00:05:04,000 But since you will one day be vicar here, Mr. Sedley, 82 00:05:04,000 --> 00:05:08,000 perhaps it would be better if you heard the truth from me. 83 00:05:08,000 --> 00:05:10,000 Miss Tremaine, don't think I... 84 00:05:10,000 --> 00:05:12,000 Oh, the truth is wild enough. 85 00:05:12,000 --> 00:05:18,000 It all began, I suppose, when John Gaylord got me my first speaking part. 86 00:05:18,000 --> 00:05:23,000 That was all far too long ago to tell. 87 00:05:23,000 --> 00:05:27,000 John and L. Garrett were the leads in my part. 88 00:05:27,000 --> 00:05:32,000 Well, it was one of those obscure little parts that no one pays any attention to 89 00:05:32,000 --> 00:05:38,000 until some obscure little actress comes along and makes the start of a career with it. 90 00:05:38,000 --> 00:05:42,000 Because then I first experienced what will always be to me 91 00:05:42,000 --> 00:05:47,000 and all the range of human feelings, the supreme exaltation, 92 00:05:47,000 --> 00:06:09,000 when we hear the full friends and applause of an audience, for you, for you alone. 93 00:06:09,000 --> 00:06:10,000 Yes? 94 00:06:10,000 --> 00:06:11,000 It's me. 95 00:06:11,000 --> 00:06:13,000 Oh, come in, John. 96 00:06:13,000 --> 00:06:15,000 Madam, I'm John Gaylord. 97 00:06:15,000 --> 00:06:17,000 Oh, come in, John. 98 00:06:17,000 --> 00:06:19,000 Madeline, you are marvelous, simply marvelous. 99 00:06:19,000 --> 00:06:20,000 Thank you, John. 100 00:06:20,000 --> 00:06:21,000 And such a little fool. 101 00:06:21,000 --> 00:06:22,000 A fool? 102 00:06:22,000 --> 00:06:24,000 I told you to play the part down, but it's getting worse and worse. 103 00:06:24,000 --> 00:06:26,000 Tonight she's absolutely furious. 104 00:06:26,000 --> 00:06:28,000 She's going to make trouble for you, Madeline. 105 00:06:28,000 --> 00:06:30,000 Oh, trouble? What kind of trouble? 106 00:06:30,000 --> 00:06:31,000 You don't know Nelly Garrett. 107 00:06:31,000 --> 00:06:33,000 But I know my audience, don't I? 108 00:06:33,000 --> 00:06:37,000 Oh, Madeline, you're so young and foolish and so beautiful. 109 00:06:37,000 --> 00:06:38,000 Why, thank you, John. 110 00:06:38,000 --> 00:06:41,000 So terribly beautiful. 111 00:06:41,000 --> 00:06:44,000 Oh, John, now you're leading up to it again, aren't you? 112 00:06:44,000 --> 00:06:46,000 This play isn't going to last forever. 113 00:06:46,000 --> 00:06:48,000 Even you can't keep it alive much longer. 114 00:06:48,000 --> 00:06:50,000 Why don't we make plans together now? 115 00:06:50,000 --> 00:06:51,000 We could have our own company. 116 00:06:51,000 --> 00:06:54,000 As the great John Gaylord and Mrs. Gaylord. 117 00:06:54,000 --> 00:06:55,000 Of course not. 118 00:06:55,000 --> 00:06:59,000 Why, in a couple of years, you'd be as famous in your own right as Nell Garrett herself. 119 00:06:59,000 --> 00:07:01,000 Perhaps I don't want to wait a couple of years. 120 00:07:01,000 --> 00:07:04,000 Besides, John, I don't love you. 121 00:07:04,000 --> 00:07:06,000 Do you love anyone? 122 00:07:06,000 --> 00:07:10,000 No, but when I marry, it will be, oh, and often coming... 123 00:07:10,000 --> 00:07:14,000 It's a fair in the dinner. Some of you must know about this. 124 00:07:14,000 --> 00:07:16,000 You're in for it now, Madeline. 125 00:07:16,000 --> 00:07:18,000 So there you are, my fine miss. 126 00:07:18,000 --> 00:07:20,000 Go easy, Miss Garrett. She's meant no harm. 127 00:07:20,000 --> 00:07:21,000 No harm? 128 00:07:21,000 --> 00:07:26,000 She has merely ruined my entire last act curtain for 29 consecutive performances. 129 00:07:26,000 --> 00:07:29,000 Hoisting her skirts clear above the ankle. 130 00:07:29,000 --> 00:07:32,000 Ogling the stalls like a music hall Gretchen. 131 00:07:32,000 --> 00:07:34,000 It's only because it's that kind of a ball. 132 00:07:34,000 --> 00:07:35,000 Oh, is it? 133 00:07:35,000 --> 00:07:37,000 Well, as long as I play the leads in this company, 134 00:07:37,000 --> 00:07:41,000 I will not have my best speech in the whole play utterly ruined 135 00:07:41,000 --> 00:07:45,000 by rowdy applause for the gutter antics of a half-baked ingenue. 136 00:07:45,000 --> 00:07:47,000 Nell, you're making a fool of yourself. 137 00:07:47,000 --> 00:07:50,000 And while we're on the subject, Mr. Gaylord, 138 00:07:50,000 --> 00:07:54,000 there are a few points I should like to discuss with you. 139 00:07:54,000 --> 00:07:58,000 When you help Miss remain down from the swing in the second act, 140 00:07:58,000 --> 00:08:03,000 there is no need for you to keep your arm around her during the entire remainder of the scene. 141 00:08:03,000 --> 00:08:10,000 Well, really, Miss Garrett, if you can no longer hold either your audiences or your lovers... 142 00:08:10,000 --> 00:08:11,000 Oh, no. 143 00:08:11,000 --> 00:08:13,000 Nell! 144 00:08:13,000 --> 00:08:16,000 I'll kill you for that, Nell Garrett. 145 00:08:16,000 --> 00:08:19,000 If I die for it, I'll kill you. 146 00:08:28,000 --> 00:08:32,000 I left the theater and walked aimlessly out into the night. 147 00:08:32,000 --> 00:08:35,000 My eyes blinded with the tears. 148 00:08:35,000 --> 00:08:39,000 Young, oh, yes, and foolish as I was, 149 00:08:39,000 --> 00:08:43,000 I believed my poor little heart was truly broken. 150 00:08:43,000 --> 00:08:48,000 For I knew that Nell Garrett could ruin me with every theater manager in London. 151 00:08:48,000 --> 00:08:50,000 And I knew she would. 152 00:08:50,000 --> 00:08:54,000 How long I wandered through those misty streets, or where, 153 00:08:54,000 --> 00:08:58,000 or even what I did, I shall never know. 154 00:08:58,000 --> 00:09:04,000 But just as dawn was breaking, I found myself by some art twist of fate 155 00:09:04,000 --> 00:09:08,000 passing by the lodgings of John Gaylord. 156 00:09:08,000 --> 00:09:13,000 On a sudden impulse, I climbed the steps to his door. 157 00:09:16,000 --> 00:09:17,000 Madeleine. 158 00:09:17,000 --> 00:09:18,000 Hello, John. 159 00:09:18,000 --> 00:09:19,000 Did anyone see you? 160 00:09:19,000 --> 00:09:20,000 See me? 161 00:09:20,000 --> 00:09:21,000 Come in. 162 00:09:21,000 --> 00:09:23,000 Where have you been? 163 00:09:23,000 --> 00:09:25,000 Just walking, walking. 164 00:09:25,000 --> 00:09:26,000 Oh, good Lord, alone? 165 00:09:26,000 --> 00:09:28,000 Yes. Why? 166 00:09:28,000 --> 00:09:29,000 Don't you know? 167 00:09:29,000 --> 00:09:32,000 Yes, John, I'm afraid I do. 168 00:09:32,000 --> 00:09:33,000 My career? 169 00:09:33,000 --> 00:09:35,000 Your career, oh, my poor child. 170 00:09:35,000 --> 00:09:36,000 John, what's the matter? 171 00:09:36,000 --> 00:09:39,000 Don't you know that Nell Garrett's been found dead with a knife in her back? 172 00:09:39,000 --> 00:09:40,000 Dead? 173 00:09:39,000 --> 00:09:40,000 Murdered. 174 00:09:40,000 --> 00:09:41,000 John! 175 00:09:41,000 --> 00:09:43,000 Police have been looking all over London for you. 176 00:09:43,000 --> 00:09:46,000 I've been expecting you here, expecting them here any moment. 177 00:09:46,000 --> 00:09:47,000 For me? 178 00:09:46,000 --> 00:09:47,000 Of course, for you. 179 00:09:47,000 --> 00:09:48,000 Me? 180 00:09:48,000 --> 00:09:52,000 Madeleine, last night you threatened to kill her in front of a dozen witnesses. 181 00:09:52,000 --> 00:09:53,000 Why wouldn't they be looking for you? 182 00:09:53,000 --> 00:09:54,000 Oh, no! 183 00:09:54,000 --> 00:09:56,000 Madeleine, listen to me. 184 00:09:56,000 --> 00:09:57,000 Where did you go? 185 00:09:57,000 --> 00:09:58,000 What did you do? 186 00:09:58,000 --> 00:09:59,000 Didn't anyone see you? 187 00:09:59,000 --> 00:10:00,000 Didn't you talk to anyone? 188 00:10:00,000 --> 00:10:01,000 No, no. 189 00:10:01,000 --> 00:10:02,000 You've got to tell them something. 190 00:10:02,000 --> 00:10:03,000 What can I tell them? 191 00:10:03,000 --> 00:10:07,000 Because if you don't, they'll hang you, Madeleine. 192 00:10:08,000 --> 00:10:11,000 Please, Madeleine, you've got to think, try to remember something. 193 00:10:11,000 --> 00:10:12,000 I'm so alone. 194 00:10:12,000 --> 00:10:15,000 If I only had a friend... 195 00:10:15,000 --> 00:10:16,000 You have got a friend, now, then I know. 196 00:10:16,000 --> 00:10:20,000 ...someone who loved me enough to at least say that they were with me. 197 00:10:21,000 --> 00:10:22,000 Who is it? 198 00:10:22,000 --> 00:10:24,000 Inspector Phillips, got the job. 199 00:10:24,000 --> 00:10:26,000 Madeleine, in there, quick, the bedroom. 200 00:10:26,000 --> 00:10:27,000 John. 201 00:10:27,000 --> 00:10:28,000 Don't worry, I'll tell them something. 202 00:10:28,000 --> 00:10:29,000 Hurry. 203 00:10:32,000 --> 00:10:33,000 Coming. 204 00:10:37,000 --> 00:10:39,000 I'm sorry to rouse you at this early hour, sir. 205 00:10:39,000 --> 00:10:40,000 Quite all right. 206 00:10:40,000 --> 00:10:41,000 Come in. 207 00:10:43,000 --> 00:10:44,000 You are Mr. John Gaylord? 208 00:10:44,000 --> 00:10:45,000 Yes. 209 00:10:45,000 --> 00:10:47,000 Of the Queen's Players Company, Dury Lane? 210 00:10:47,000 --> 00:10:48,000 Yes. 211 00:10:48,000 --> 00:10:51,000 Can you tell me, Mr. Gaylord, anything of the whereabouts of Miss Madeleine Tremaine? 212 00:10:51,000 --> 00:10:53,000 Madeleine Tremaine? 213 00:10:53,000 --> 00:10:54,000 Yes. 214 00:10:54,000 --> 00:10:55,000 Why? 215 00:10:56,000 --> 00:10:57,000 Did you call me, darling? 216 00:10:58,000 --> 00:11:00,000 Oh, excuse me. 217 00:11:00,000 --> 00:11:02,000 Who is this lady, Mr. Gaylord? 218 00:11:02,000 --> 00:11:04,000 Well, who are you? 219 00:11:04,000 --> 00:11:05,000 I am from the police, madam. 220 00:11:05,000 --> 00:11:06,000 Police? 221 00:11:06,000 --> 00:11:07,000 There has been a murder. 222 00:11:07,000 --> 00:11:11,000 Miss Nell Garrett of the Queen's Company was found stabbed in her home last night. 223 00:11:11,000 --> 00:11:13,000 Nell Garrett? 224 00:11:13,000 --> 00:11:14,000 Yes. 225 00:11:14,000 --> 00:11:15,000 Do you know her? 226 00:11:15,000 --> 00:11:17,000 Why, of course. 227 00:11:17,000 --> 00:11:20,000 I'm afraid, madam, that I shall have to ask you for your name. 228 00:11:20,000 --> 00:11:22,000 I'm Madeleine Tremaine. 229 00:11:22,000 --> 00:11:25,000 I'm so sorry that you find me somewhat in disarray. 230 00:11:25,000 --> 00:11:32,000 Miss Tremaine, I'm afraid that I shall also have to ask you to account for your whereabouts after you left the theater last night. 231 00:11:32,000 --> 00:11:33,000 Very well. 232 00:11:33,000 --> 00:11:36,000 Mr. Gaylord can account for my whereabouts. 233 00:11:37,000 --> 00:11:39,000 Well, Mr. Gaylord, why... 234 00:11:39,000 --> 00:11:47,000 You see, Inspector, it's a rather delicate matter, because since I left the theater last night, I have been here. 235 00:11:47,000 --> 00:11:52,000 Is... is that true, Mr. Gaylord? 236 00:11:52,000 --> 00:11:54,000 Yes. 237 00:11:54,000 --> 00:11:56,000 Oh, I see. 238 00:11:56,000 --> 00:11:58,000 Is that satisfactory, Inspector? 239 00:11:58,000 --> 00:11:59,000 Yes, yes. 240 00:11:59,000 --> 00:12:02,000 Well, I don't think I need trouble you any further for the moment. 241 00:12:02,000 --> 00:12:04,000 I quite understand your position, Inspector. 242 00:12:04,000 --> 00:12:07,000 It's a terrible, terrible thing. 243 00:12:07,000 --> 00:12:08,000 Yes. 244 00:12:08,000 --> 00:12:10,000 Well, good day to you. 245 00:12:10,000 --> 00:12:12,000 Good day. 246 00:12:12,000 --> 00:12:14,000 Madeleine. 247 00:12:14,000 --> 00:12:15,000 Yes, John? 248 00:12:15,000 --> 00:12:19,000 Madeleine, you shouldn't have done it. They'll have the scandal all over every newspaper in the city. 249 00:12:19,000 --> 00:12:21,000 A scandal is better than a hanging, isn't it? 250 00:12:21,000 --> 00:12:23,000 But there must have been some other way. 251 00:12:23,000 --> 00:12:27,000 Now they'll tear you to shreds. They wouldn't have you in anything better than a music hall for the rest of your life. 252 00:12:27,000 --> 00:12:31,000 John, there won't be any scandal if... 253 00:12:31,000 --> 00:12:33,000 If what? 254 00:12:33,000 --> 00:12:38,000 John, it wasn't just my tip with Mel Garrett that sent me wandering through the fog last night. 255 00:12:38,000 --> 00:12:41,000 I was thinking about something much more serious. 256 00:12:41,000 --> 00:12:42,000 What do you mean? 257 00:12:42,000 --> 00:12:45,000 I was thinking about what you had said. 258 00:12:45,000 --> 00:12:47,000 What I had said? 259 00:12:47,000 --> 00:12:53,000 John, perhaps I don't really love you yet, but there's no one else. 260 00:12:53,000 --> 00:12:56,000 And you're the kindest, finest man I've ever known. 261 00:12:56,000 --> 00:12:57,000 Madeleine. 262 00:12:57,000 --> 00:13:00,000 And now perhaps you've saved my life. 263 00:13:00,000 --> 00:13:05,000 Madeleine, I love you more than anything else in the world. 264 00:13:05,000 --> 00:13:07,000 But I wouldn't have you marry me for gratitude. 265 00:13:07,000 --> 00:13:11,000 I wouldn't marry any man for gratitude. 266 00:13:11,000 --> 00:13:15,000 Madeleine, if I were to tell you that I wasn't here last night either, 267 00:13:15,000 --> 00:13:18,000 that I couldn't explain my whereabouts... 268 00:13:18,000 --> 00:13:20,000 Oh, I see. 269 00:13:20,000 --> 00:13:22,000 Would you still marry me? 270 00:13:22,000 --> 00:13:26,000 Yes, John. I will marry you. 271 00:13:26,000 --> 00:13:33,000 Tonight for Suspense, Roma Wines are bringing you as star Miss June Dupree, 272 00:13:33,000 --> 00:13:36,000 whom you have heard in the first act of A Thing of Beauty, 273 00:13:36,000 --> 00:13:40,000 a radio play by Robert L. Richards from a story by Elizabeth Heaston, 274 00:13:40,000 --> 00:13:57,000 tonight's tale of suspense. 275 00:13:57,000 --> 00:14:00,000 This is Truman Bradley for Roma Wines, 276 00:14:00,000 --> 00:14:03,000 and I should like to tell you about a most interesting woman 277 00:14:03,000 --> 00:14:07,000 who extracts all the simple pleasure and happiness part of her life. 278 00:14:07,000 --> 00:14:11,000 She is Elsa Maxwell, International Authority on Hospitality. 279 00:14:11,000 --> 00:14:14,000 She offers you some friendly counsel. 280 00:14:14,000 --> 00:14:18,000 I'm always telling people to take it easy, as they say, 281 00:14:18,000 --> 00:14:21,000 to be moderate and natural and at ease. 282 00:14:21,000 --> 00:14:26,000 And so obviously I suggest the enjoyment of a glass of Roma California Port 283 00:14:26,000 --> 00:14:29,000 after dinner or during the evening. 284 00:14:29,000 --> 00:14:32,000 It's also very smart to serve when friends drop in 285 00:14:32,000 --> 00:14:37,000 because this is one of the most glorious of all wines, 286 00:14:37,000 --> 00:14:42,000 richly fruity in flavor, with wonderful deep red color, utterly delicious. 287 00:14:42,000 --> 00:14:47,000 This is simple enjoyment, easy and restful enjoyment, 288 00:14:47,000 --> 00:14:52,000 moderate pleasure that helps you feel calmly at ease and so happier. 289 00:14:52,000 --> 00:14:56,000 Don't bother about special glasses, just use whatever glasses are convenient, 290 00:14:56,000 --> 00:15:00,000 and I'm sure you'll find a good glass of wine for you. 291 00:15:00,000 --> 00:15:04,000 Special glasses are convenient, and enjoy your wine. 292 00:15:04,000 --> 00:15:07,000 You really should act on Miss Maxwell's suggestion. 293 00:15:07,000 --> 00:15:10,000 Roma Port, as all Roma wines, 294 00:15:10,000 --> 00:15:14,000 is the best that California's magnificent sun-ripened grapes can provide. 295 00:15:14,000 --> 00:15:21,000 In glorious flavor, color, and aroma, is unvaryingly good, always enjoyable, 296 00:15:21,000 --> 00:15:25,000 protected for you by the ancient skill of the noted Roma wineries 297 00:15:25,000 --> 00:15:28,000 located in the choicest vineyard areas of California. 298 00:15:28,000 --> 00:15:33,000 Yet, all this delight costs you only pennies a glass. 299 00:15:33,000 --> 00:15:39,000 Remember, more Americans enjoy Roma than any other wines. 300 00:15:39,000 --> 00:15:44,000 Roma, R-O-M-A, Roma wines. 301 00:15:44,000 --> 00:15:48,000 And now it is with pleasure that we bring back to our sound stage 302 00:15:48,000 --> 00:15:51,000 Miss June Dupree as Madeleine Tremaine, 303 00:15:51,000 --> 00:15:55,000 who resumes the recital of her brilliant and stormy career. 304 00:15:55,000 --> 00:15:58,000 It is a tale told to two clergymen in a darkened room, 305 00:15:58,000 --> 00:16:02,000 a tale well calculated to keep them and you in... 306 00:16:02,000 --> 00:16:04,000 suspense. 307 00:16:15,000 --> 00:16:17,000 Shall I continue, gentlemen? 308 00:16:17,000 --> 00:16:20,000 Oh, yes, please do, Miss Tremaine. It's completely absorbing. 309 00:16:20,000 --> 00:16:22,000 Indeed it is. 310 00:16:22,000 --> 00:16:26,000 Really. I hope you don't mind the light that turned off. 311 00:16:26,000 --> 00:16:31,000 It's the storm. I suppose perhaps I'm a sort of elemental creature, 312 00:16:31,000 --> 00:16:36,000 but I always love to sit here and have it dark when it's stormy outside. 313 00:16:36,000 --> 00:16:37,000 Not at all. 314 00:16:37,000 --> 00:16:40,000 Well, then... 315 00:16:43,000 --> 00:16:46,000 Our marriage was a very happy one. 316 00:16:46,000 --> 00:16:50,000 Perhaps not entirely in the high tradition of grand passion, 317 00:16:50,000 --> 00:16:53,000 but a thoroughly comfortable civilized relationship 318 00:16:53,000 --> 00:16:57,000 until something happened which is so often a tragic feature of 319 00:16:57,000 --> 00:17:01,000 wedded life between two stage personalities. 320 00:17:01,000 --> 00:17:06,000 For the first two seasons, John and I always played together. 321 00:17:06,000 --> 00:17:11,000 And then managers began to ask for me, alone. 322 00:17:11,000 --> 00:17:13,000 What could I do? 323 00:17:13,000 --> 00:17:17,000 I was young and just reaching the peak of my career. 324 00:17:17,000 --> 00:17:22,000 John was past his prime and popularity. 325 00:17:22,000 --> 00:17:26,000 And so at last he no longer even tried to have a career, 326 00:17:26,000 --> 00:17:33,000 but lived along on false hopes and idle dreams and tiresome reminiscences. 327 00:17:33,000 --> 00:17:40,000 Had took up little hobbies to pass the time away and grew a little stout. 328 00:17:40,000 --> 00:17:43,000 It was very difficult for both of us. 329 00:17:43,000 --> 00:17:52,000 And then for me came the time and opportunity that every actress dreams of. 330 00:17:58,000 --> 00:18:00,000 Ah, mademoiselle! 331 00:18:00,000 --> 00:18:03,000 Hello, Suzette. I've got the most wonderful news. 332 00:18:03,000 --> 00:18:05,000 The most wonderful, wonderful news! 333 00:18:05,000 --> 00:18:06,000 Is that you, Madeline? 334 00:18:06,000 --> 00:18:08,000 I'll tell you about it later. 335 00:18:08,000 --> 00:18:09,000 Yes, John? 336 00:18:09,000 --> 00:18:11,000 Come in here a moment. I want to show you something. 337 00:18:11,000 --> 00:18:12,000 Where are you? 338 00:18:12,000 --> 00:18:14,000 In here, in the den. 339 00:18:14,000 --> 00:18:16,000 Oh, good heavens. Now what? 340 00:18:16,000 --> 00:18:20,000 I thought I'd keep it a secret until I had my first exhibit, but I couldn't wait. 341 00:18:20,000 --> 00:18:22,000 I've taken up etching. 342 00:18:22,000 --> 00:18:23,000 Etching? 343 00:18:23,000 --> 00:18:25,000 Yes. Look. 344 00:18:25,000 --> 00:18:26,000 What's that? 345 00:18:26,000 --> 00:18:27,000 You. 346 00:18:27,000 --> 00:18:28,000 What? 347 00:18:28,000 --> 00:18:30,000 It's only the copper plate, of course. 348 00:18:30,000 --> 00:18:32,000 You see, the whole principle of etching is... 349 00:18:32,000 --> 00:18:33,000 Madeline, look out! 350 00:18:33,000 --> 00:18:35,000 What's the matter? 351 00:18:35,000 --> 00:18:38,000 Almost knocked over that vat of nitric acid. 352 00:18:38,000 --> 00:18:41,000 One drop of that on your beautiful white skin. 353 00:18:41,000 --> 00:18:44,000 And it'll burn a hole right through you. 354 00:18:44,000 --> 00:18:47,000 Well, must you have that sort of thing around? 355 00:18:47,000 --> 00:18:49,000 Of course. That's the whole thing. 356 00:18:49,000 --> 00:18:53,000 You see, your sketch simply scrapes the wax off the copper plate. 357 00:18:53,000 --> 00:18:55,000 Then you drop it in the acid and... 358 00:18:55,000 --> 00:18:58,000 Well, that's very interesting. 359 00:18:58,000 --> 00:19:01,000 Yes. Well? 360 00:19:01,000 --> 00:19:03,000 And what happened in town? 361 00:19:03,000 --> 00:19:04,000 Anything? 362 00:19:04,000 --> 00:19:06,000 Anything. Everything! 363 00:19:06,000 --> 00:19:08,000 Got some plans, huh? 364 00:19:08,000 --> 00:19:10,000 Anyone ask for me? 365 00:19:10,000 --> 00:19:13,000 Oh, yes, everyone asked after you, John. I told them you were well. 366 00:19:13,000 --> 00:19:18,000 I mean, I thought there might be a couple of decent plays for a change. 367 00:19:18,000 --> 00:19:20,000 I might consider something... 368 00:19:20,000 --> 00:19:25,000 John, how are you on Romeo? 369 00:19:25,000 --> 00:19:26,000 Romeo? 370 00:19:26,000 --> 00:19:31,000 Yes. You see, Maxwell has finally asked me to do a Shakespeare repertory. 371 00:19:31,000 --> 00:19:33,000 And high time, by the way. 372 00:19:33,000 --> 00:19:35,000 And I'm starting in Romeo and Juliet. And I need... 373 00:19:35,000 --> 00:19:38,000 Madeline, why didn't you tell me Romeo? 374 00:19:38,000 --> 00:19:40,000 Oh, it'll be a sensation and it's just the thing I need to... 375 00:19:40,000 --> 00:19:41,000 But now, John... 376 00:19:41,000 --> 00:19:43,000 Oh, I can do it all right. Take off a little weight brush up on the lines. 377 00:19:43,000 --> 00:19:44,000 I've done it before, you know. 378 00:19:44,000 --> 00:19:45,000 John... 379 00:19:45,000 --> 00:19:49,000 Oh, Madeline, you're the dearest wife and the best friend a man ever had. 380 00:19:49,000 --> 00:19:55,000 You know, lately I've actually wondered sometimes if you might not think I wasn't... 381 00:19:55,000 --> 00:19:58,000 Oh, oh, darling. 382 00:19:58,000 --> 00:20:00,000 Now, John, don't count too heavily on this. 383 00:20:00,000 --> 00:20:03,000 I'm not quite sure yet how things are going to work out. 384 00:20:03,000 --> 00:20:06,000 Work out? How else can they work out? But perfectly. 385 00:20:06,000 --> 00:20:09,000 Very well. I'd like to begin reading here at home. 386 00:20:09,000 --> 00:20:11,000 First thing tomorrow evening. 387 00:20:25,000 --> 00:20:30,000 Now, shall we take it again from, uh, yet I should kill thee with much cherishing. 388 00:20:30,000 --> 00:20:34,000 Yet I should kill thee with much cherishing. 389 00:20:34,000 --> 00:20:38,000 Good night. Good night. 390 00:20:38,000 --> 00:20:45,000 Parting is such sweet sorrow that I shall say good night till it be morrow. 391 00:20:45,000 --> 00:20:49,000 Sleep, dwell upon thine eyes, peace in thy breast. 392 00:20:49,000 --> 00:20:55,000 Yes, yes. John, you see, on those last lines you should already be moving off stage. 393 00:20:55,000 --> 00:20:57,000 You don't want to make too much of them. 394 00:20:57,000 --> 00:21:00,000 After all, the scene really ends when Juliet leaves the balcony. 395 00:21:00,000 --> 00:21:02,000 But you can't just throw them away, Madeline. 396 00:21:02,000 --> 00:21:04,000 Those are famous lines. 397 00:21:04,000 --> 00:21:07,000 But John, we mustn't think so much in terms of lines as of performance. 398 00:21:07,000 --> 00:21:10,000 Excuse me, mademoiselle. Mr. Alexander Duncan is here. 399 00:21:10,000 --> 00:21:12,000 Oh, yes. Show him in. 400 00:21:12,000 --> 00:21:13,000 Yes, mademoiselle. 401 00:21:13,000 --> 00:21:17,000 Alec Duncan. Who's that young ham coming around for? 402 00:21:17,000 --> 00:21:20,000 Well, John, I've been meaning to tell you... 403 00:21:20,000 --> 00:21:22,000 Hello, Madeline. 404 00:21:22,000 --> 00:21:24,000 Hello, Alec. You know my husband? 405 00:21:24,000 --> 00:21:26,000 Why, yes. How do you do, Mr. Tremaine? 406 00:21:26,000 --> 00:21:28,000 The name is Gaylord. 407 00:21:28,000 --> 00:21:30,000 Oh, oh, yes, of course, Mr. Gaylord. 408 00:21:30,000 --> 00:21:33,000 Well, say, aren't I the luckiest fellow in the world? 409 00:21:33,000 --> 00:21:34,000 Are you? 410 00:21:34,000 --> 00:21:35,000 John... 411 00:21:35,000 --> 00:21:37,000 To be playing Romeo opposite Madeline Tremaine? 412 00:21:37,000 --> 00:21:40,000 Why, Madeline, when I got your cable, I could hardly believe it. 413 00:21:40,000 --> 00:21:42,000 I jumped on the boat without even packing... 414 00:21:42,000 --> 00:21:44,000 Is something wrong? 415 00:21:44,000 --> 00:21:48,000 John, I've been trying to tell you, but I didn't want to hurt your feelings. 416 00:21:48,000 --> 00:21:49,000 Well, if I've interrupted anything... 417 00:21:49,000 --> 00:21:50,000 It's all right, Alec. 418 00:21:50,000 --> 00:21:53,000 John, please don't make a scene. 419 00:21:53,000 --> 00:21:56,000 I had to have someone to rehearse with until Alec got here, 420 00:21:56,000 --> 00:21:59,000 and I knew he wouldn't be the slightest help to me if you thought... 421 00:21:59,000 --> 00:22:02,000 Oh, John, why must you make an issue of it? 422 00:22:02,000 --> 00:22:08,000 Madeline, I've always known you were the thoughtless, selfish woman. 423 00:22:08,000 --> 00:22:12,000 But I never would have believed that you could do anything quite so vile. 424 00:22:12,000 --> 00:22:14,000 How dare you speak to me that way? 425 00:22:14,000 --> 00:22:17,000 You didn't really think that a man with a 40-inch waistline 426 00:22:17,000 --> 00:22:19,000 and a double chin could ever play Romeo, did you? 427 00:22:19,000 --> 00:22:20,000 Why, you... 428 00:22:20,000 --> 00:22:23,000 Oh, I say... 429 00:22:23,000 --> 00:22:26,000 Get out of here. Get out of here. 430 00:22:26,000 --> 00:22:28,000 Get out, get out, get out! 431 00:22:28,000 --> 00:22:31,000 Why, get out. 432 00:22:31,000 --> 00:22:32,000 You'd better leave, Alec. 433 00:22:32,000 --> 00:22:33,000 Oh, yes. 434 00:22:33,000 --> 00:22:38,000 I'll go and apologize. 435 00:22:38,000 --> 00:22:40,000 John, I want to talk... 436 00:22:40,000 --> 00:22:43,000 Be careful of that acid, Madeline. 437 00:22:43,000 --> 00:22:47,000 Acid? Oh, John, I... 438 00:22:47,000 --> 00:22:50,000 I'm terribly sorry for what I said. 439 00:22:50,000 --> 00:22:52,000 It was beastly of me. 440 00:22:52,000 --> 00:22:54,000 Oh, it's quite all right. 441 00:22:54,000 --> 00:22:56,000 Oh, John, I knew you'd see it that way when you came to sing. 442 00:22:56,000 --> 00:22:59,000 Because, you see, I am going to play Romeo. 443 00:22:59,000 --> 00:23:01,000 Oh, John, must we go through it all again? 444 00:23:01,000 --> 00:23:03,000 Madeline, I've forgiven, I've forgotten 445 00:23:03,000 --> 00:23:05,000 a lot of things since we've been married. 446 00:23:05,000 --> 00:23:07,000 I've pushed you out in front, I've given you the spotlight 447 00:23:07,000 --> 00:23:10,000 and watched your regard for me become somewhat less than that of a servant, 448 00:23:10,000 --> 00:23:12,000 if somewhat more than for your dog. 449 00:23:12,000 --> 00:23:13,000 John! 450 00:23:13,000 --> 00:23:15,000 But this, if only for my self-respect, I will not allow 451 00:23:15,000 --> 00:23:18,000 to dangle before my eyes the thing that I've wanted most in all the world, 452 00:23:18,000 --> 00:23:21,000 except your beauty that I gave it up for. 453 00:23:21,000 --> 00:23:24,000 The thing I've been wanting so much, I didn't dare admit it to myself. 454 00:23:24,000 --> 00:23:26,000 And then to have you snatch it away from me. 455 00:23:26,000 --> 00:23:28,000 No, Madeline. 456 00:23:28,000 --> 00:23:30,000 Waist lines and double chins can be concealed. 457 00:23:30,000 --> 00:23:33,000 But a mean spirit never. 458 00:23:33,000 --> 00:23:35,000 This one thing you can do for me, and you will. 459 00:23:35,000 --> 00:23:37,000 John, you're being a fool. 460 00:23:37,000 --> 00:23:39,000 You see, I haven't always, I've always known 461 00:23:39,000 --> 00:23:41,000 that you married me to save your career 462 00:23:41,000 --> 00:23:43,000 and to keep my mouth shut. 463 00:23:43,000 --> 00:23:46,000 But there's one thing you haven't known. 464 00:23:46,000 --> 00:23:49,000 Where I was the night Nell Garrett was murdered. 465 00:23:49,000 --> 00:23:51,000 Where were you? 466 00:23:51,000 --> 00:23:54,000 I was at Nell Garrett's home. 467 00:23:54,000 --> 00:24:00,000 Well, that explains quite a number of things, doesn't it, John? 468 00:24:00,000 --> 00:24:05,000 Madeline, where did you get that gun? 469 00:24:05,000 --> 00:24:09,000 I always thought that someday I might need one. 470 00:24:09,000 --> 00:24:10,000 Madeline. 471 00:24:10,000 --> 00:24:12,000 Don't come near me, John. 472 00:24:12,000 --> 00:24:19,000 Very well, I warned you. 473 00:24:19,000 --> 00:24:27,000 You monster, you beautiful terrible monster. 474 00:24:27,000 --> 00:24:45,000 John, no, no. 475 00:24:45,000 --> 00:24:48,000 You see, as he sank to the floor, 476 00:24:48,000 --> 00:24:51,000 he hurled a bowl of acid at my face. 477 00:24:51,000 --> 00:24:53,000 It was a frightful thing. 478 00:24:53,000 --> 00:24:57,000 Because of a self-defense, I was never even brought to trial. 479 00:24:57,000 --> 00:25:02,000 Particularly when I told that it was he who had killed Paul Nell Garrett. 480 00:25:02,000 --> 00:25:06,000 But I suffered a complete nervous collapse. 481 00:25:06,000 --> 00:25:09,000 And I suppose I've never really recovered. 482 00:25:09,000 --> 00:25:12,000 And yet Providence always seems kind enough 483 00:25:12,000 --> 00:25:15,000 to leave something to be thankful for, 484 00:25:15,000 --> 00:25:18,000 even in the worst of tragedies. 485 00:25:18,000 --> 00:25:23,000 Because not a single drop of acid ever touched me. 486 00:25:23,000 --> 00:25:30,000 I suppose if it had, I should be horribly disfigured to this day. 487 00:25:30,000 --> 00:25:32,000 Have I bored you, Mr. Sedley? 488 00:25:32,000 --> 00:25:34,000 No, oh no, Mr. Mann. 489 00:25:34,000 --> 00:25:36,000 Well, Madeline, the storm is almost over. 490 00:25:36,000 --> 00:25:38,000 I think we'd best push on. 491 00:25:38,000 --> 00:25:40,000 Must you? 492 00:25:40,000 --> 00:25:44,000 Well, but excuse me for just a moment. 493 00:25:44,000 --> 00:25:47,000 Of course. 494 00:25:47,000 --> 00:25:49,000 My word. 495 00:25:49,000 --> 00:25:50,000 Poor woman. 496 00:25:50,000 --> 00:25:51,000 Yes. 497 00:25:51,000 --> 00:25:53,000 I say, look here. 498 00:25:53,000 --> 00:25:54,000 What? 499 00:25:54,000 --> 00:25:55,000 This mirror. 500 00:25:55,000 --> 00:25:57,000 It's not a mirror at all. 501 00:25:57,000 --> 00:25:59,000 It has a picture pasted in it. 502 00:25:59,000 --> 00:26:01,000 The photograph that's in the study. 503 00:26:01,000 --> 00:26:04,000 Poor Madeline. 504 00:26:04,000 --> 00:26:09,000 Father Benson, Mademoiselle would like to speak with you a moment before you go. 505 00:26:09,000 --> 00:26:10,000 Oh, oh, oh, very well. 506 00:26:10,000 --> 00:26:12,000 I'll only be a moment, Sedley. 507 00:26:12,000 --> 00:26:13,000 This way, Father. 508 00:26:13,000 --> 00:26:16,000 Thank you. 509 00:26:16,000 --> 00:26:18,000 Ah, Father. 510 00:26:18,000 --> 00:26:19,000 Well, Madeline. 511 00:26:19,000 --> 00:26:22,000 You may turn the lights on, Suzette, as you go. 512 00:26:22,000 --> 00:26:26,000 Yes, Mademoiselle. 513 00:26:26,000 --> 00:26:30,000 So, that is your young curate, Father Bentham. 514 00:26:30,000 --> 00:26:31,000 Yes, yes. 515 00:26:31,000 --> 00:26:32,000 Do you like him? 516 00:26:32,000 --> 00:26:35,000 Oh, he seems a dear boy. 517 00:26:35,000 --> 00:26:36,000 But... 518 00:26:36,000 --> 00:26:38,000 But what, Madeline? 519 00:26:38,000 --> 00:26:41,000 I am afraid I can't see him again. 520 00:26:41,000 --> 00:26:43,000 Madeline, why? 521 00:26:43,000 --> 00:26:47,000 Because I... I don't want to hurt his feelings, and... 522 00:26:47,000 --> 00:26:49,000 it would not be the same. 523 00:26:49,000 --> 00:26:54,000 You have been my only true friend in all these years. 524 00:26:54,000 --> 00:26:57,000 And when you are gone, I would rather be alone again. 525 00:26:57,000 --> 00:26:59,000 I'm sorry, sir, but Mrs. Stokes is outside. 526 00:26:59,000 --> 00:27:02,000 Her little girl is dying, and when she heard you were here, she... 527 00:27:02,000 --> 00:27:05,000 Oh... 528 00:27:05,000 --> 00:27:06,000 Go away. 529 00:27:06,000 --> 00:27:07,000 Madeline. 530 00:27:07,000 --> 00:27:09,000 Go away. 531 00:27:09,000 --> 00:27:11,000 Both of you. 532 00:27:11,000 --> 00:27:13,000 Go away. 533 00:27:13,000 --> 00:27:15,000 Go away. 534 00:27:15,000 --> 00:27:16,000 Go away. 535 00:27:16,000 --> 00:27:18,000 Come, sir. 536 00:27:18,000 --> 00:27:21,000 Go away. 537 00:27:21,000 --> 00:27:23,000 Good Lord. 538 00:27:23,000 --> 00:27:25,000 Poor Madeline. 539 00:27:25,000 --> 00:27:27,000 It was... it was too much for her. 540 00:27:27,000 --> 00:27:28,000 Yes. 541 00:27:28,000 --> 00:27:30,000 Oh, she killed them both, of course. 542 00:27:30,000 --> 00:27:32,000 The woman and her husband. 543 00:27:32,000 --> 00:27:34,000 I think I always must have known it. 544 00:27:34,000 --> 00:27:37,000 All these years, she's... she's lived a lie. 545 00:27:37,000 --> 00:27:41,000 Yes, but that's not the lie that's hurt her. 546 00:27:41,000 --> 00:27:43,000 It was the acid. 547 00:27:43,000 --> 00:27:45,000 Acid? 548 00:27:45,000 --> 00:27:47,000 Didn't you see her face, sir? 549 00:27:47,000 --> 00:27:51,000 You forget, my boy, that I am blind. 550 00:27:51,000 --> 00:28:15,000 She has no face. 551 00:28:15,000 --> 00:28:18,000 And so closes A Thing of Beauty, starring June Dupre, 552 00:28:18,000 --> 00:28:21,000 tonight's tale of Suspense. 553 00:28:21,000 --> 00:28:25,000 Suspense is produced, edited, and directed by William Spear. 554 00:28:25,000 --> 00:28:29,000 Probably no woman alive has been hostess to so many famous 555 00:28:29,000 --> 00:28:32,000 and distinguished people as Miss Elsa Maxwell. 556 00:28:32,000 --> 00:28:35,000 This is what she says about Roma wine. 557 00:28:35,000 --> 00:28:38,000 When you entertain friends, you do everything you can think of 558 00:28:38,000 --> 00:28:40,000 to add to their enjoyment. 559 00:28:40,000 --> 00:28:44,000 And that is why I say, when you serve your guests Roma wine, 560 00:28:44,000 --> 00:28:49,000 you not only delight them, you also smartly and genuinely flatter them. 561 00:28:49,000 --> 00:28:53,000 These delicious wines add so much to hospitality 562 00:28:53,000 --> 00:28:56,000 and to enjoyment of everyday meals. 563 00:28:56,000 --> 00:29:00,000 Yet it's such a simple, easy addition to the joy of living, 564 00:29:00,000 --> 00:29:04,000 so wholesomely moderate and so inexpensive. 565 00:29:04,000 --> 00:29:06,000 Miss Maxwell gives you good advice. 566 00:29:06,000 --> 00:29:08,000 Enjoy Roma wine regularly. 567 00:29:08,000 --> 00:29:10,000 It's California's finest. 568 00:29:10,000 --> 00:29:15,000 Always good, unvaryingly fine in flavor and quality. 569 00:29:15,000 --> 00:29:20,000 Remember, more Americans enjoy Roma than any other wines. 570 00:29:20,000 --> 00:29:24,000 Roma, R-O-M-A, Roma wines. 571 00:29:24,000 --> 00:29:29,000 Next Thursday same time, Mr. Keenan Wynne will be your star of... 572 00:29:29,000 --> 00:29:32,000 Suspense! 573 00:29:32,000 --> 00:29:37,000 Presented by Roma Wines, R-O-M-A, made in California 574 00:29:37,000 --> 00:29:40,000 for enjoyment throughout the world. 575 00:29:40,000 --> 00:30:08,000 This is CBS, the Columbia Broadcasting System.