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Now, the Roma Wine Company of Fresno, California presents...

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Suspense!

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Tonight, Roma wines bring you the distinguished actor, Mr. Ronald Coleman,

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in one of the great suspense stories of our time, August Heat.

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Suspense is presented for your enjoyment by Roma Wines.

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That's R-O-M-A, Roma Wines.

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Those excellent California wines that can add so much pleasantness to the way you live,

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to your happiness and entertaining guests, to your enjoyment of everyday meals.

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Before we bring you Ronald Coleman and our suspense play,

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here's a brief message from Elsa Maxwell, famed for her great charm as a hostess.

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When food looks appetizing, it almost always lives up to expectations.

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When even so simple a main dish as a steaming fragrant bowl of spaghetti or beans

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is surrounded by bright green salads, golden rolls or muffins,

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and brilliant Roma California burgundy, the food is more enjoyable, more delightful.

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And for a summery touch of the outdoors, a vase of flowers,

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perfect color complement to the deep rich beauty of Roma Burgundy.

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You'll enjoy the fruity, robust taste.

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The tart piquancy of distinguished Roma Burgundy served cool.

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Truly a masterpiece of fine winemaking.

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Like all Roma wines, Roma Burgundy is unburyingly good,

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always high in quality of bouquet, color and taste.

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The happy reward of selected grapes brought slowly to perfection,

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gently pressed, then carefully guided to flavor fullness

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for the ancient skill of Roma's noted wineries in California's choicest vineyards.

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Yet all this goodness is yours for only pennies a glass.

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Remember, more Americans enjoy Roma than any other wine.

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R-O-M-A, Roma wines.

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Yes, right now a glass full would be very pleasant,

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as Roma wines bring you a remarkable tale of suspense.

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And with August Heat, W.F. Harvey's matchless narrative of premonition

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and the brooding terror of Twilight and the Unseen,

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and with the performance of Ronald Coleman,

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Roma wines hope indeed to keep you in suspense.

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The Unseen

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Fenniston Road, Clampham, August 20, 1945.

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I have had what I believe to be the most remarkable day in my life.

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And while the events are still fresh in my mind,

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I wish to put them down on paper as clearly as possible.

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Let me say at the outset that my name is James Clarence Wyverncroft.

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You must remember that in order to have the full implication of my story.

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James Clarence Wyverncroft.

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I'm 40 years old, in perfect health, never having known a day's illness.

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By profession I am an artist, not a very successful one,

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but I earn enough money by my black and white work to satisfy my necessary wants.

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My only near relative, a sister, died five years ago,

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so that there is no one in particular to whom I address this manuscript.

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Only you, who might by chance read it some day.

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For because of the peculiar circumstance about which you will soon hear,

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I have the strong premonition that I shall never live to tell anyone about it.

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I breakfasted this morning at nine at the usual time.

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It was no different from any other morning.

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And after glancing through the morning paper, I lighted my pipe,

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and I proceeded to let my mind wander,

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in the hope that I might chance upon some subject for my pencil.

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The room, the door and window were open,

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and I was able to see the

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I breakfasted this morning at nine at the usual time.

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It was no different from any other morning.

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And after glancing through the morning paper, I lighted my pipe,

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and I proceeded to let my mind wander,

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in the hope that I might chance upon some subject for my pencil.

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The room, the door and window were open, was oppressively hot,

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and I just made up my mind to let my mind wander,

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in the hope that I might chance upon some subject for my pencil.

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The room, the door and window were open, was oppressively hot,

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and I just made up my mind to let my mind wander,

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and I just made up my mind to let my mind wander,

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when I was suddenly shaken,

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a feeling swept over me such as I'd never experienced before.

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I attempted to rise to my feet,

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but somehow it seemed as though I had suddenly been fastened to my chair.

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My hand went out in an effort to brace myself.

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And then, before I knew what I was doing,

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my pencil was in my hand, and I began to draw.

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It was as though someone had taken my hand

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and was moving it across the paper, swiftly, in bold strokes.

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And then, I seemed to take over.

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My hand, under its own power, began to draw.

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I soon forgot the oppressive heat.

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Everything was forgotten in this frantic feeling

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that the sketch must be finished as soon as possible.

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I had no idea how long I'd worked until I heard the clock

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of St. Jude's in the distance.

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It was four o'clock, and I had started just after breakfast.

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Now, for the first time since I'd begun,

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I actually seemed to see what I had been sketching.

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I was surprised.

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The final result was, I felt sure, the best thing I'd ever done.

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It showed a criminal in the dark

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immediately after the judge had pronounced sentence.

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The man was fat, enormously fat.

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The flesh hung in rolls about his chin.

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It creased his huge, stumpy neck.

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He was clean-shaven, or perhaps I should say,

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a few days before he must have been clean-shaven,

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and he was almost bald.

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He stood there before the judge, his short, clumsy fingers

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clasping the rail, looking straight in front of him.

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The feeling that his expression conveyed

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was not so much one of horror as of utter, absolute collapse.

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There seemed nothing in the man strong enough

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to sustain that mountain of flesh.

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And then, and then I saw that the sketch wasn't complete,

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for the man's other hand seemed to be clutching

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an instrument of some kind, a weapon,

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but it hadn't been completed.

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I had made this sketch, and yet I had no recollection

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of what I'd intended the man to carry in his other hand.

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I took up my pencil again,

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and I attempted to fill in the fuzzy outline,

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but it was useless.

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It was as though my fingers had suddenly turned to lead.

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I sat down, and I felt the moisture

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slowly forming on my forehead.

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And once again, I was conscious of the oppressive heat.

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Then I knew that there would be no finishing of the sketch,

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at any rate not for the moment,

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so I rolled it up, and without quite knowing why,

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I put it in my pocket.

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In spite of my peculiar inspiration,

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I was filled with a rare sense of happiness,

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which the knowledge of a good thing well done gives.

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I believed that I set out with the idea

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of calling upon Trenton,

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for I remember walking along Lytton Street,

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and turning to the right along Gilchrist Road.

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At the bottom of the hill were the men

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who were at work on the new tram line.

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From there onwards, I have only the vaguest recollection

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of where I went,

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through parks, along crowded streets,

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always conscious of the awful heat

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that came up from the dusty asphalt pavement

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in a suffocating wave.

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And I remember, too, the hollow sound of my footsteps

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as I moved along.

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After walking aimlessly, I somehow knew that there was a goal,

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something to which I was drawn.

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I longed for the thunder promised by the great banks

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of copper-coloured clouds that hung low over the western sky.

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I've really no idea how far I walked

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when a small boy roused me from my abstraction.

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You've got the time, mister.

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Twenty minutes to seven.

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Thanks.

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All enough for you, sir?

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Yes.

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When he left me, I began to take stock of my bearings.

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I found myself standing before a gate

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that led into a yard bordered by a strip of thirsty earth.

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There were flowers, purple stock and scarlet geranium,

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and great numbers of bees droned over them.

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I stood looking down at them for a moment,

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and then, for some reason, I looked up.

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Over the entrance to the place, there was a board

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with the inscription Charles Atkinson,

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Monumental Mason,

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worker in English and Italian marbles.

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From the yard itself came a cheery whistle,

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the noise of hammer blows and the cold sound of steel meeting stone.

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A sudden impulse made me enter,

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and I went in in the direction of the noise.

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There was a man sitting with his back towards me.

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He was busy at work on a slab of curiously-painted marble.

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Then, without turning, his hammer stopped in midair

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as he was about to bring it down on his chisel.

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He held his position a moment before turning,

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but I knew that he was aware of my presence,

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and when he turned, I saw his face.

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It was, although I'd never seen him before,

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it was the face of the man I had been drawing.

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Yes, it was the face of the man whose sketch was in my pocket.

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He sat there on his lowest tool, huge in elephantine,

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the sweat pouring from his scalp, not speaking.

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Then he took a red-soaked handkerchief and he mopped his brow.

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Although this face that looked up at me was the same as my sketch,

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the expression was absolutely different.

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Suddenly the puzzled expression left his face,

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and he smiled as if we were old friends,

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and he walked over and he took my hand.

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Good day, sir.

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Good day. I am sorry to intrude.

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Not at all.

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Everything is so hot and glary outside.

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This is like an oasis in the wilderness.

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I don't know about an oasis, but it certainly is hot.

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Take a seat, sir.

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He pointed to the end of the gravestone on which he was at work,

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and I sat down.

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Very hot.

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That's a beautiful piece of stone you've got hold of.

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In a way it is.

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The surface here is as fine as anything you could wish,

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but there's a big flaw at the back.

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Oh, I don't expect you'd notice it.

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Oh, I shouldn't think so.

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I could never really do a good job at a bit of marble like that.

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It would be all right in the summer like this.

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Wouldn't mind a blasted heat.

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Wait until the winter comes.

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Winter?

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There's nothing quite like frost to find out the weak points in stone.

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A gravestone, you see.

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Oh, I see.

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Then what's this one for?

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You'd hardly believe if I was to tell you, but it's for exhibition.

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It's the truth.

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Artists have exhibitions, so do grocers and butchers.

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Oh, we have them too.

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All the latest little things in Edstowns, you know.

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He went on to talk of marbles,

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which sort of marble best withstood wind and rain,

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and which were easiest to work.

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Then of his garden and some new sort of carnation he had bought.

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At the end of every other minute, he would drop his tools,

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wipe his shining head.

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This heat.

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This heat's bad.

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A man's not responsible for what he does in this heat.

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I said little, for I felt uneasy.

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There was something unnatural, uncanny in all of this,

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the feeling that I'd experienced it all before.

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The oppressive heat, the fragrance of the stucks in the air,

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the conversation about the marble, the flowers,

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everything as though I had experienced it before.

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And yet I knew that I'd never ever been in this section of town before.

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I tried to persuade myself that at least I'd seen him before.

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That his face, unknown to me, had found a place in some out-of-the-way corner of my memory.

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But I knew that I was practicing little more than a plausible piece of self-deception.

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As I sat there quietly watching him, he looked up at me and he said...

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There! What do you think of that?

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He said it with an air of evident pride, of a job well done.

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I could sense that he was experiencing the same feeling I had experienced

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when I'd finished my sketch.

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Then he got up with a sigh of relief.

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Hot! Hot, ain't it?

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I was seated in such a position that I was unable to see his work.

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And for some reason, I didn't move.

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Suddenly, he began to read what he'd carved on the tombstone.

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He spoke deliberately and with a flat voice.

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In the midst of life, we are in death.

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Born January 18, 1905.

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I looked up at the start.

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This man had read my exact birthday.

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He passed away very suddenly on August 20, 1945.

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That's today.

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We usually use the present date on these exhibition staves.

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Do you...

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Do you usually put a name on them too?

250
00:15:58,240 --> 00:16:00,240
Yes, yes.

251
00:16:00,240 --> 00:16:19,240
Sacred to the memory of James Clarence Wythencroft.

252
00:16:21,240 --> 00:16:27,240
Cold shudders swept over me, and I sat there in silence.

253
00:16:27,240 --> 00:16:33,240
The sound of birds and crickets seemed loud in my ears as we stood there,

254
00:16:33,240 --> 00:16:37,240
looking at each other, saying nothing.

255
00:16:37,240 --> 00:16:39,240
Then he mopped his brow again.

256
00:16:39,240 --> 00:16:42,240
Hot! Hot!

257
00:16:42,240 --> 00:16:45,240
I was finally able to speak.

258
00:16:45,240 --> 00:16:48,240
Where... where did you see that name?

259
00:16:48,240 --> 00:16:50,240
Oh, I didn't see it anywhere.

260
00:16:50,240 --> 00:16:55,240
I wanted some name, and I put down the first that came into my head.

261
00:16:55,240 --> 00:17:00,240
It's a strange coincidence, but it happens to be mine.

262
00:17:00,240 --> 00:17:04,240
Huh? That's your name?

263
00:17:04,240 --> 00:17:07,240
You're James Clarence...

264
00:17:07,240 --> 00:17:10,240
Wythencroft. Yes.

265
00:17:10,240 --> 00:17:12,240
Well...

266
00:17:12,240 --> 00:17:14,240
Whew!

267
00:17:14,240 --> 00:17:19,240
And the dates?

268
00:17:19,240 --> 00:17:23,240
I can only answer for the birth date.

269
00:17:23,240 --> 00:17:25,240
It's correct.

270
00:17:25,240 --> 00:17:33,240
Oh! That's a rum, girl.

271
00:17:33,240 --> 00:17:38,240
I made a sketch this morning... of you.

272
00:17:38,240 --> 00:17:43,240
Of me? But you've never seen me before.

273
00:17:43,240 --> 00:17:45,240
No.

274
00:17:45,240 --> 00:17:49,240
Oh. Oh.

275
00:17:49,240 --> 00:17:54,240
I took my sketch from my pocket and I showed it to him.

276
00:17:54,240 --> 00:17:57,240
As he looked, the expression on his face altered,

277
00:17:57,240 --> 00:18:01,240
until it became more and more like that of the man I had drawn.

278
00:18:01,240 --> 00:18:04,240
And it was only the other day before

279
00:18:04,240 --> 00:18:09,240
that I told Moriah there were no such things as ghosts.

280
00:18:09,240 --> 00:18:12,240
Neither of us had seen a ghost, but I knew what he meant.

281
00:18:12,240 --> 00:18:14,240
Then I spoke to him.

282
00:18:14,240 --> 00:18:18,240
You... you probably heard my name someplace.

283
00:18:18,240 --> 00:18:21,240
Yes. You must have seen me somewhere and forgotten it.

284
00:18:21,240 --> 00:18:23,240
Yes. Yes.

285
00:18:23,240 --> 00:18:27,240
Were you at Clacton on sea last July?

286
00:18:27,240 --> 00:18:31,240
No. No. I've never been to Clacton in my life.

287
00:18:31,240 --> 00:18:35,240
Oh.

288
00:18:35,240 --> 00:18:38,240
And we were silent for some time again.

289
00:18:38,240 --> 00:18:41,240
And we stood there looking at one another

290
00:18:41,240 --> 00:18:44,240
and at the two dates on the gravestone.

291
00:18:44,240 --> 00:18:47,240
And the birth, one was right,

292
00:18:47,240 --> 00:18:50,240
and the other was today.

293
00:18:50,240 --> 00:18:55,240
Well, come inside and have some supper.

294
00:19:11,240 --> 00:19:14,240
His wife was a strange little woman

295
00:19:14,240 --> 00:19:18,240
who was pallid with the look of those who lived their lives indoors.

296
00:19:18,240 --> 00:19:21,240
Her husband introduced me as a friend of his who was an artist,

297
00:19:21,240 --> 00:19:25,240
and he informed her that I was staying to supper.

298
00:19:25,240 --> 00:19:30,240
I spoke, making some comment that I hoped I wouldn't be an intrusion,

299
00:19:30,240 --> 00:19:32,240
and she looked up at me and she said,

300
00:19:32,240 --> 00:19:35,240
You have a pleasing voice, Mr. Withencroft,

301
00:19:35,240 --> 00:19:37,240
and you're welcome in my home.

302
00:19:37,240 --> 00:19:44,240
I'm sorry Charles has not brought you here before.

303
00:19:49,240 --> 00:19:52,240
Very little was said during the meal,

304
00:19:52,240 --> 00:19:56,240
and after the sardines and watercress had been removed,

305
00:19:56,240 --> 00:19:58,240
she walked over to her cupboard,

306
00:19:58,240 --> 00:20:00,240
and she took down a thin black book,

307
00:20:00,240 --> 00:20:03,240
and as she handed it to me, she spoke.

308
00:20:03,240 --> 00:20:06,240
Would you read aloud, Mr. Withencroft?

309
00:20:06,240 --> 00:20:12,240
Puzzled, I looked down at the book which she'd opened and placed before me.

310
00:20:12,240 --> 00:20:16,240
It was a very tiny book, The Prophet, it was called,

311
00:20:16,240 --> 00:20:20,240
by an author run known to me with a strange Eastern name,

312
00:20:20,240 --> 00:20:22,240
Carlyle Gibran,

313
00:20:22,240 --> 00:20:24,240
and my eyes fell across the page,

314
00:20:24,240 --> 00:20:31,240
and suddenly I was reading aloud as she'd asked me to.

315
00:20:31,240 --> 00:20:36,240
Then Nalmitra spoke, saying, We would ask now of death,

316
00:20:36,240 --> 00:20:42,240
and he said, You would know the secret of death,

317
00:20:42,240 --> 00:20:47,240
but how shall you find it unless you seek it in the heart of life?

318
00:20:47,240 --> 00:20:52,240
The owl whose night-bound eyes are blind unto the day

319
00:20:52,240 --> 00:20:56,240
cannot unveil the mystery of light.

320
00:20:56,240 --> 00:20:59,240
If you would indeed behold the spirit of death,

321
00:20:59,240 --> 00:21:03,240
open your heart wide unto the body of life,

322
00:21:03,240 --> 00:21:09,240
for life and death are one, even as the river and the sea are one.

323
00:21:09,240 --> 00:21:12,240
In the depth of your hopes and desires

324
00:21:12,240 --> 00:21:17,240
lies your silent knowledge of the beyond.

325
00:21:17,240 --> 00:21:20,240
Unlike seeds dreaming beneath the snow,

326
00:21:20,240 --> 00:21:23,240
your heart dreams of spring.

327
00:21:23,240 --> 00:21:28,240
Trust the dreams, for in them is hidden the gate to eternity.

328
00:21:28,240 --> 00:21:32,240
Your fear of death is but the trembling of the shepherd,

329
00:21:32,240 --> 00:21:38,240
when he stands before the king whose hand is to be laid upon him in honor.

330
00:21:38,240 --> 00:21:42,240
Is the shepherd not joyful beneath his trembling,

331
00:21:42,240 --> 00:21:45,240
that he shall wear the mark of the king?

332
00:21:45,240 --> 00:21:50,240
Yet is he not more mindful of his trembling.

333
00:21:50,240 --> 00:21:56,240
For what is it to die but to stand naked in the wind and to melt into the sun?

334
00:21:56,240 --> 00:22:01,240
And what is it to cease breathing but to free the breath from its restless tides,

335
00:22:01,240 --> 00:22:06,240
that it may rise and expand and seek God unencumbered?

336
00:22:06,240 --> 00:22:12,240
Only when you drink from the river of silence shall you indeed sing.

337
00:22:12,240 --> 00:22:17,240
And when you have reached the mountaintop, then you shall begin to climb.

338
00:22:17,240 --> 00:22:39,240
And when the earth shall claim your limbs, then shall you truly dance.

339
00:22:39,240 --> 00:22:42,240
When I looked up, Mr. Atkinson had gone,

340
00:22:42,240 --> 00:22:45,240
but his wife stood before me, and as she took the book, she spoke.

341
00:22:45,240 --> 00:22:47,240
Thank you.

342
00:22:47,240 --> 00:22:54,240
Then I went outside, and I found Atkinson sitting on the gravestone and smoking.

343
00:22:54,240 --> 00:22:56,240
He looked up at me.

344
00:22:56,240 --> 00:23:02,240
Hot, hot.

345
00:23:02,240 --> 00:23:10,240
Man's not responsible for what he might do in this heat.

346
00:23:10,240 --> 00:23:14,240
She never'd asked anyone to read aloud before.

347
00:23:14,240 --> 00:23:16,240
And then we talked about the sketch again.

348
00:23:16,240 --> 00:23:18,240
He looked at it.

349
00:23:18,240 --> 00:23:21,240
Likeness is me, all right.

350
00:23:21,240 --> 00:23:23,240
On trial.

351
00:23:23,240 --> 00:23:29,240
You must excuse my asking, but do you know anything you've done

352
00:23:29,240 --> 00:23:31,240
for which you could be put on trial?

353
00:23:31,240 --> 00:23:36,240
No, I've done nothing. Not yet.

354
00:23:36,240 --> 00:23:42,240
He got up, fetched a can from the porch, and he began to water the flowers.

355
00:23:42,240 --> 00:23:44,240
Twice a day, regular, in the hot weather.

356
00:23:44,240 --> 00:23:48,240
And then he'd sometimes get the better of the delicate ones, and ferns.

357
00:23:48,240 --> 00:23:51,240
Good Lord, they could never stand it.

358
00:23:51,240 --> 00:23:52,240
Where do you live?

359
00:23:52,240 --> 00:23:54,240
I told him my address.

360
00:23:54,240 --> 00:23:57,240
It would take an hour's quick walk to get back home.

361
00:23:57,240 --> 00:24:01,240
And he stopped watering, and he faced me squarely.

362
00:24:01,240 --> 00:24:03,240
It's like this.

363
00:24:03,240 --> 00:24:05,240
We look at the matter straight.

364
00:24:05,240 --> 00:24:08,240
If you both go back home tonight, you'd take your chance of accidents.

365
00:24:08,240 --> 00:24:10,240
A carp may turn over you.

366
00:24:10,240 --> 00:24:13,240
It's always banana skins and orange peels.

367
00:24:13,240 --> 00:24:16,240
They say nothing of falling ladders.

368
00:24:16,240 --> 00:24:19,240
He spoke of the improbable with an intense seriousness

369
00:24:19,240 --> 00:24:23,240
that would have been laughable six hours before.

370
00:24:23,240 --> 00:24:25,240
But I did not laugh.

371
00:24:25,240 --> 00:24:29,240
The best thing we can do is for you to stay here till 12 o'clock.

372
00:24:29,240 --> 00:24:32,240
Then it'll be tomorrow, do you see?

373
00:24:32,240 --> 00:24:33,240
Yes.

374
00:24:33,240 --> 00:24:37,240
We'll go upstairs and smoke.

375
00:24:37,240 --> 00:24:40,240
It may be cooler inside.

376
00:24:40,240 --> 00:24:43,240
And to my surprise, I agreed.

377
00:24:53,240 --> 00:24:58,240
We are sitting in a long, low room beneath the eaves.

378
00:24:58,240 --> 00:25:03,240
Atkinson has sent his wife to bed.

379
00:25:03,240 --> 00:25:08,240
He himself is busy sharpening some tools at a little oilstone,

380
00:25:08,240 --> 00:25:12,240
smoking one of my cigars the while.

381
00:25:12,240 --> 00:25:15,240
And as I look at my sketch before me,

382
00:25:15,240 --> 00:25:18,240
I suddenly see the fuzzy outline of what the man in the picture

383
00:25:18,240 --> 00:25:21,240
holds in his hands.

384
00:25:21,240 --> 00:25:24,240
But while I had not been able to sketch it before,

385
00:25:24,240 --> 00:25:27,240
I am able to do so now.

386
00:25:27,240 --> 00:25:32,240
It is a chisel.

387
00:25:32,240 --> 00:25:37,240
And it is stained with dark liquid.

388
00:25:41,240 --> 00:25:46,240
The sketch is completed now.

389
00:25:46,240 --> 00:25:50,240
The air seems charged with thunder.

390
00:25:50,240 --> 00:25:55,240
And I hear it in the distance.

391
00:25:55,240 --> 00:26:00,240
It is ominous, but it carries the hope of rain.

392
00:26:00,240 --> 00:26:05,240
Perhaps this damnable heat will be broken soon,

393
00:26:05,240 --> 00:26:08,240
and the day will soon be over.

394
00:26:08,240 --> 00:26:13,240
It is close to twelve.

395
00:26:13,240 --> 00:26:20,240
I am writing this at a shaky table before the open window.

396
00:26:20,240 --> 00:26:22,240
The leg is cracked.

397
00:26:22,240 --> 00:26:28,240
And Atkinson, who seems a handy man with his tools,

398
00:26:28,240 --> 00:26:33,240
is going to mend it as soon as he has finished putting an edge

399
00:26:33,240 --> 00:26:37,240
on his chisel.

400
00:26:37,240 --> 00:26:39,240
There.

401
00:26:39,240 --> 00:26:41,240
It is twelve.

402
00:26:41,240 --> 00:26:44,240
The day is over.

403
00:26:44,240 --> 00:26:49,240
And I shall be going home.

404
00:26:49,240 --> 00:27:01,240
But the heat, the heat is tifling.

405
00:27:01,240 --> 00:27:23,240
This heat is enough to send a man mad.

406
00:27:31,240 --> 00:27:36,240
And so closes August Heat, in which Roma wines have brought you

407
00:27:36,240 --> 00:27:40,240
Ronald Coleman as star of tonight's study in Suspense.

408
00:27:40,240 --> 00:27:44,240
Suspense is produced, edited, and directed by William Spear.

409
00:27:44,240 --> 00:27:47,240
Music for August Heat was composed by Lucian Morrowick

410
00:27:47,240 --> 00:27:49,240
and conducted by Lutte Gluskin.

411
00:27:49,240 --> 00:27:51,240
Dennis Hoy appeared as Atkinson.

412
00:27:51,240 --> 00:27:54,240
This is Truman Bradley with a word for Roma Wines,

413
00:27:54,240 --> 00:27:56,240
the sponsor of Suspense.

414
00:27:56,240 --> 00:27:35,880
American music is a

415
00:27:35,880 --> 00:27:39,880
And so closes August Heat, in which Roma wines have brought you

416
00:27:39,880 --> 00:27:43,880
Ronald Coleman as star of tonight's study in Suspense.

417
00:27:43,880 --> 00:27:47,880
Suspense is produced, edited, and directed by William Spear.

418
00:27:47,880 --> 00:27:50,880
Music for August Heat was composed by Lucian Morrowick

419
00:27:50,880 --> 00:27:52,880
and conducted by Lutte Gluskin.

420
00:27:52,880 --> 00:27:54,880
Dennis Hoy appeared as Atkinson.

421
00:27:54,880 --> 00:27:57,880
This is Truman Bradley with a word for Roma Wines,

422
00:27:57,880 --> 00:27:59,880
the sponsor of Suspense.

423
00:27:59,880 --> 00:28:03,880
America's famed authority on hospitality, Elson Maxwell,

424
00:28:03,880 --> 00:28:06,880
recently made this suggestion for gracious entertainment.

425
00:28:06,880 --> 00:28:09,880
Your friends will respect your good taste

426
00:28:09,880 --> 00:28:12,880
when you serve delightful Roma California Toque,

427
00:28:12,880 --> 00:28:14,880
enjoyable at any time,

428
00:28:14,880 --> 00:28:17,880
with coffee or dessert, with nuts and fruit.

429
00:28:17,880 --> 00:28:20,880
I suggest serving Roma Toque cool.

430
00:28:20,880 --> 00:28:23,880
A most timely suggestion for Miss Maxwell.

431
00:28:23,880 --> 00:28:26,880
You'll find flame-bright Roma Toque velvety smooth,

432
00:28:26,880 --> 00:28:30,880
moderately sweet, light, yet delightfully rich in color,

433
00:28:30,880 --> 00:28:33,880
and you'll find Roma wines always delicious

434
00:28:33,880 --> 00:28:36,880
of unvarying fine quality and goodness.

435
00:28:36,880 --> 00:28:38,880
June is the month of weddings,

436
00:28:38,880 --> 00:28:41,880
and the most distinguished way to pay the June bride

437
00:28:41,880 --> 00:28:44,880
is by serving Roma California Champagne.

438
00:28:44,880 --> 00:28:48,880
Its gold and sparkle and delicious delightful dryness

439
00:28:48,880 --> 00:28:53,880
tell you that here is a truly fine champagne, Roma Champagne.

440
00:28:53,880 --> 00:28:56,880
Next time you plan for a special occasion,

441
00:28:56,880 --> 00:28:58,880
add this sparkling touch of perfection,

442
00:28:58,880 --> 00:29:00,880
good Roma Champagne.

443
00:29:00,880 --> 00:29:04,880
Next Thursday you will hear John Payne and Frank McHugh

444
00:29:04,880 --> 00:29:07,880
as stars of Suspense.

445
00:29:07,880 --> 00:29:12,880
presented by Roma Wines, R-O-M-A,

446
00:29:12,880 --> 00:29:16,880
made in California for enjoyment throughout the world.

447
00:29:16,880 --> 00:29:28,880
This is CBS, the Columbia Broadcasting System.