WEBVTT 00:00.000 --> 00:06.000 Now, the Roma Wine Company of Fresno, California presents... 00:12.000 --> 00:14.000 Suspense! 00:17.000 --> 00:22.000 Tonight, Roma wines bring you the distinguished actor, Mr. Ronald Coleman, 00:22.000 --> 00:30.000 in one of the great suspense stories of our time, August Heat. 00:30.000 --> 00:35.000 Suspense is presented for your enjoyment by Roma Wines. 00:35.000 --> 00:38.000 That's R-O-M-A, Roma Wines. 00:38.000 --> 00:43.000 Those excellent California wines that can add so much pleasantness to the way you live, 00:43.000 --> 00:48.000 to your happiness and entertaining guests, to your enjoyment of everyday meals. 00:48.000 --> 00:52.000 Before we bring you Ronald Coleman and our suspense play, 00:52.000 --> 00:57.000 here's a brief message from Elsa Maxwell, famed for her great charm as a hostess. 00:57.000 --> 01:02.000 When food looks appetizing, it almost always lives up to expectations. 01:02.000 --> 01:07.000 When even so simple a main dish as a steaming fragrant bowl of spaghetti or beans 01:07.000 --> 01:11.000 is surrounded by bright green salads, golden rolls or muffins, 01:11.000 --> 01:17.000 and brilliant Roma California burgundy, the food is more enjoyable, more delightful. 01:17.000 --> 01:21.000 And for a summery touch of the outdoors, a vase of flowers, 01:21.000 --> 01:25.000 perfect color complement to the deep rich beauty of Roma Burgundy. 01:25.000 --> 01:28.000 You'll enjoy the fruity, robust taste. 01:28.000 --> 01:33.000 The tart piquancy of distinguished Roma Burgundy served cool. 01:33.000 --> 01:37.000 Truly a masterpiece of fine winemaking. 01:37.000 --> 01:41.000 Like all Roma wines, Roma Burgundy is unburyingly good, 01:41.000 --> 01:45.000 always high in quality of bouquet, color and taste. 01:45.000 --> 01:50.000 The happy reward of selected grapes brought slowly to perfection, 01:50.000 --> 01:54.000 gently pressed, then carefully guided to flavor fullness 01:54.000 --> 02:00.000 for the ancient skill of Roma's noted wineries in California's choicest vineyards. 02:00.000 --> 02:05.000 Yet all this goodness is yours for only pennies a glass. 02:05.000 --> 02:11.000 Remember, more Americans enjoy Roma than any other wine. 02:11.000 --> 02:15.000 R-O-M-A, Roma wines. 02:15.000 --> 02:19.000 Yes, right now a glass full would be very pleasant, 02:19.000 --> 02:24.000 as Roma wines bring you a remarkable tale of suspense. 02:24.000 --> 02:29.000 And with August Heat, W.F. Harvey's matchless narrative of premonition 02:29.000 --> 02:32.000 and the brooding terror of Twilight and the Unseen, 02:32.000 --> 02:35.000 and with the performance of Ronald Coleman, 02:35.000 --> 02:42.000 Roma wines hope indeed to keep you in suspense. 02:42.000 --> 02:47.000 The Unseen 03:01.000 --> 03:08.000 Fenniston Road, Clampham, August 20, 1945. 03:08.000 --> 03:18.000 I have had what I believe to be the most remarkable day in my life. 03:18.000 --> 03:25.000 And while the events are still fresh in my mind, 03:25.000 --> 03:39.000 I wish to put them down on paper as clearly as possible. 03:46.000 --> 03:51.000 Let me say at the outset that my name is James Clarence Wyverncroft. 03:51.000 --> 03:55.000 You must remember that in order to have the full implication of my story. 03:55.000 --> 03:59.000 James Clarence Wyverncroft. 03:59.000 --> 04:05.000 I'm 40 years old, in perfect health, never having known a day's illness. 04:05.000 --> 04:10.000 By profession I am an artist, not a very successful one, 04:10.000 --> 04:15.000 but I earn enough money by my black and white work to satisfy my necessary wants. 04:15.000 --> 04:20.000 My only near relative, a sister, died five years ago, 04:20.000 --> 04:24.000 so that there is no one in particular to whom I address this manuscript. 04:24.000 --> 04:29.000 Only you, who might by chance read it some day. 04:29.000 --> 04:34.000 For because of the peculiar circumstance about which you will soon hear, 04:34.000 --> 04:39.000 I have the strong premonition that I shall never live to tell anyone about it. 04:39.000 --> 04:42.000 I breakfasted this morning at nine at the usual time. 04:42.000 --> 04:45.000 It was no different from any other morning. 04:45.000 --> 04:49.000 And after glancing through the morning paper, I lighted my pipe, 04:49.000 --> 04:52.000 and I proceeded to let my mind wander, 04:52.000 --> 04:56.000 in the hope that I might chance upon some subject for my pencil. 04:56.000 --> 05:00.000 The room, the door and window were open, 05:00.000 --> 04:43.240 and I was able to see the 04:43.240 --> 04:48.240 I breakfasted this morning at nine at the usual time. 04:48.240 --> 04:51.240 It was no different from any other morning. 04:51.240 --> 04:55.240 And after glancing through the morning paper, I lighted my pipe, 04:55.240 --> 04:58.240 and I proceeded to let my mind wander, 04:58.240 --> 05:02.240 in the hope that I might chance upon some subject for my pencil. 05:02.240 --> 05:07.240 The room, the door and window were open, was oppressively hot, 05:07.240 --> 05:10.240 and I just made up my mind to let my mind wander, 05:10.240 --> 05:13.240 in the hope that I might chance upon some subject for my pencil. 05:13.240 --> 05:17.240 The room, the door and window were open, was oppressively hot, 05:17.240 --> 05:20.240 and I just made up my mind to let my mind wander, 05:20.240 --> 05:23.240 and I just made up my mind to let my mind wander, 05:23.240 --> 05:26.240 when I was suddenly shaken, 05:26.240 --> 05:30.240 a feeling swept over me such as I'd never experienced before. 05:30.240 --> 05:33.240 I attempted to rise to my feet, 05:33.240 --> 05:37.240 but somehow it seemed as though I had suddenly been fastened to my chair. 05:37.240 --> 05:40.240 My hand went out in an effort to brace myself. 05:40.240 --> 05:43.240 And then, before I knew what I was doing, 05:43.240 --> 05:48.240 my pencil was in my hand, and I began to draw. 05:48.240 --> 05:50.240 It was as though someone had taken my hand 05:50.240 --> 05:55.240 and was moving it across the paper, swiftly, in bold strokes. 05:55.240 --> 05:58.240 And then, I seemed to take over. 05:58.240 --> 06:02.240 My hand, under its own power, began to draw. 06:02.240 --> 06:05.240 I soon forgot the oppressive heat. 06:05.240 --> 06:08.240 Everything was forgotten in this frantic feeling 06:08.240 --> 06:11.240 that the sketch must be finished as soon as possible. 06:21.240 --> 06:24.240 I had no idea how long I'd worked until I heard the clock 06:24.240 --> 06:26.240 of St. Jude's in the distance. 06:26.240 --> 06:31.240 It was four o'clock, and I had started just after breakfast. 06:31.240 --> 06:34.240 Now, for the first time since I'd begun, 06:34.240 --> 06:37.240 I actually seemed to see what I had been sketching. 06:37.240 --> 06:39.240 I was surprised. 06:39.240 --> 06:43.240 The final result was, I felt sure, the best thing I'd ever done. 06:43.240 --> 06:46.240 It showed a criminal in the dark 06:46.240 --> 06:50.240 immediately after the judge had pronounced sentence. 06:50.240 --> 06:53.240 The man was fat, enormously fat. 06:53.240 --> 06:55.240 The flesh hung in rolls about his chin. 06:55.240 --> 06:58.240 It creased his huge, stumpy neck. 06:58.240 --> 07:01.240 He was clean-shaven, or perhaps I should say, 07:01.240 --> 07:04.240 a few days before he must have been clean-shaven, 07:04.240 --> 07:06.240 and he was almost bald. 07:08.240 --> 07:11.240 He stood there before the judge, his short, clumsy fingers 07:11.240 --> 07:15.240 clasping the rail, looking straight in front of him. 07:15.240 --> 07:18.240 The feeling that his expression conveyed 07:18.240 --> 07:23.240 was not so much one of horror as of utter, absolute collapse. 07:23.240 --> 07:26.240 There seemed nothing in the man strong enough 07:26.240 --> 07:28.240 to sustain that mountain of flesh. 07:28.240 --> 07:32.240 And then, and then I saw that the sketch wasn't complete, 07:32.240 --> 07:35.240 for the man's other hand seemed to be clutching 07:35.240 --> 07:37.240 an instrument of some kind, a weapon, 07:37.240 --> 07:40.240 but it hadn't been completed. 07:40.240 --> 07:43.240 I had made this sketch, and yet I had no recollection 07:43.240 --> 07:47.240 of what I'd intended the man to carry in his other hand. 07:49.240 --> 07:51.240 I took up my pencil again, 07:51.240 --> 07:53.240 and I attempted to fill in the fuzzy outline, 07:53.240 --> 07:55.240 but it was useless. 07:55.240 --> 07:59.240 It was as though my fingers had suddenly turned to lead. 08:00.240 --> 08:02.240 I sat down, and I felt the moisture 08:02.240 --> 08:05.240 slowly forming on my forehead. 08:05.240 --> 08:10.240 And once again, I was conscious of the oppressive heat. 08:10.240 --> 08:13.240 Then I knew that there would be no finishing of the sketch, 08:13.240 --> 08:15.240 at any rate not for the moment, 08:15.240 --> 08:18.240 so I rolled it up, and without quite knowing why, 08:18.240 --> 08:21.240 I put it in my pocket. 08:22.240 --> 08:24.240 In spite of my peculiar inspiration, 08:24.240 --> 08:27.240 I was filled with a rare sense of happiness, 08:27.240 --> 08:31.240 which the knowledge of a good thing well done gives. 08:40.240 --> 08:42.240 I believed that I set out with the idea 08:42.240 --> 08:44.240 of calling upon Trenton, 08:44.240 --> 08:46.240 for I remember walking along Lytton Street, 08:46.240 --> 08:49.240 and turning to the right along Gilchrist Road. 08:49.240 --> 08:51.240 At the bottom of the hill were the men 08:51.240 --> 08:53.240 who were at work on the new tram line. 08:53.240 --> 08:56.240 From there onwards, I have only the vaguest recollection 08:56.240 --> 08:58.240 of where I went, 08:58.240 --> 09:01.240 through parks, along crowded streets, 09:01.240 --> 09:04.240 always conscious of the awful heat 09:04.240 --> 09:06.240 that came up from the dusty asphalt pavement 09:06.240 --> 09:08.240 in a suffocating wave. 09:16.240 --> 09:19.240 And I remember, too, the hollow sound of my footsteps 09:19.240 --> 09:21.240 as I moved along. 09:21.240 --> 09:24.240 After walking aimlessly, I somehow knew that there was a goal, 09:24.240 --> 09:27.240 something to which I was drawn. 09:27.240 --> 09:30.240 I longed for the thunder promised by the great banks 09:30.240 --> 09:34.240 of copper-coloured clouds that hung low over the western sky. 09:34.240 --> 09:37.240 I've really no idea how far I walked 09:37.240 --> 09:41.240 when a small boy roused me from my abstraction. 09:41.240 --> 09:43.240 You've got the time, mister. 09:43.240 --> 09:45.240 Twenty minutes to seven. 09:45.240 --> 09:46.240 Thanks. 09:46.240 --> 09:48.240 All enough for you, sir? 09:48.240 --> 09:51.240 Yes. 09:51.240 --> 09:55.240 When he left me, I began to take stock of my bearings. 09:55.240 --> 09:58.240 I found myself standing before a gate 09:58.240 --> 10:02.240 that led into a yard bordered by a strip of thirsty earth. 10:02.240 --> 10:06.240 There were flowers, purple stock and scarlet geranium, 10:06.240 --> 10:09.240 and great numbers of bees droned over them. 10:09.240 --> 10:12.240 I stood looking down at them for a moment, 10:12.240 --> 10:15.240 and then, for some reason, I looked up. 10:15.240 --> 10:18.240 Over the entrance to the place, there was a board 10:18.240 --> 10:21.240 with the inscription Charles Atkinson, 10:21.240 --> 10:23.240 Monumental Mason, 10:23.240 --> 10:26.240 worker in English and Italian marbles. 10:35.240 --> 10:38.240 From the yard itself came a cheery whistle, 10:38.240 --> 10:43.240 the noise of hammer blows and the cold sound of steel meeting stone. 10:43.240 --> 10:45.240 A sudden impulse made me enter, 10:45.240 --> 10:49.240 and I went in in the direction of the noise. 10:49.240 --> 10:52.240 There was a man sitting with his back towards me. 10:52.240 --> 10:57.240 He was busy at work on a slab of curiously-painted marble. 10:57.240 --> 11:01.240 Then, without turning, his hammer stopped in midair 11:01.240 --> 11:05.240 as he was about to bring it down on his chisel. 11:05.240 --> 11:08.240 He held his position a moment before turning, 11:08.240 --> 11:11.240 but I knew that he was aware of my presence, 11:11.240 --> 11:14.240 and when he turned, I saw his face. 11:14.240 --> 11:19.240 It was, although I'd never seen him before, 11:19.240 --> 11:23.240 it was the face of the man I had been drawing. 11:32.240 --> 11:37.240 Yes, it was the face of the man whose sketch was in my pocket. 11:37.240 --> 11:41.240 He sat there on his lowest tool, huge in elephantine, 11:41.240 --> 11:45.240 the sweat pouring from his scalp, not speaking. 11:45.240 --> 11:49.240 Then he took a red-soaked handkerchief and he mopped his brow. 11:49.240 --> 11:52.240 Although this face that looked up at me was the same as my sketch, 11:52.240 --> 11:55.240 the expression was absolutely different. 11:55.240 --> 11:57.240 Suddenly the puzzled expression left his face, 11:57.240 --> 12:00.240 and he smiled as if we were old friends, 12:00.240 --> 12:03.240 and he walked over and he took my hand. 12:03.240 --> 12:04.240 Good day, sir. 12:04.240 --> 12:06.240 Good day. I am sorry to intrude. 12:06.240 --> 12:07.240 Not at all. 12:07.240 --> 12:10.240 Everything is so hot and glary outside. 12:10.240 --> 12:13.240 This is like an oasis in the wilderness. 12:13.240 --> 12:17.240 I don't know about an oasis, but it certainly is hot. 12:17.240 --> 12:19.240 Take a seat, sir. 12:19.240 --> 12:22.240 He pointed to the end of the gravestone on which he was at work, 12:22.240 --> 12:24.240 and I sat down. 12:24.240 --> 12:26.240 Very hot. 12:26.240 --> 12:29.240 That's a beautiful piece of stone you've got hold of. 12:29.240 --> 12:31.240 In a way it is. 12:31.240 --> 12:34.240 The surface here is as fine as anything you could wish, 12:34.240 --> 12:36.240 but there's a big flaw at the back. 12:36.240 --> 12:39.240 Oh, I don't expect you'd notice it. 12:39.240 --> 12:41.240 Oh, I shouldn't think so. 12:41.240 --> 12:44.240 I could never really do a good job at a bit of marble like that. 12:44.240 --> 12:48.240 It would be all right in the summer like this. 12:48.240 --> 12:51.240 Wouldn't mind a blasted heat. 12:51.240 --> 12:53.240 Wait until the winter comes. 12:53.240 --> 12:54.240 Winter? 12:54.240 --> 12:58.240 There's nothing quite like frost to find out the weak points in stone. 12:58.240 --> 13:00.240 A gravestone, you see. 13:00.240 --> 13:01.240 Oh, I see. 13:01.240 --> 13:04.240 Then what's this one for? 13:04.240 --> 13:07.240 You'd hardly believe if I was to tell you, but it's for exhibition. 13:07.240 --> 13:09.240 It's the truth. 13:09.240 --> 13:13.240 Artists have exhibitions, so do grocers and butchers. 13:13.240 --> 13:16.240 Oh, we have them too. 13:16.240 --> 13:21.240 All the latest little things in Edstowns, you know. 13:21.240 --> 13:24.240 He went on to talk of marbles, 13:24.240 --> 13:27.240 which sort of marble best withstood wind and rain, 13:27.240 --> 13:29.240 and which were easiest to work. 13:29.240 --> 13:34.240 Then of his garden and some new sort of carnation he had bought. 13:34.240 --> 13:37.240 At the end of every other minute, he would drop his tools, 13:37.240 --> 13:39.240 wipe his shining head. 13:39.240 --> 13:41.240 This heat. 13:41.240 --> 13:43.240 This heat's bad. 13:43.240 --> 13:47.240 A man's not responsible for what he does in this heat. 13:47.240 --> 13:50.240 I said little, for I felt uneasy. 13:50.240 --> 13:53.240 There was something unnatural, uncanny in all of this, 13:53.240 --> 13:57.240 the feeling that I'd experienced it all before. 13:57.240 --> 14:00.240 The oppressive heat, the fragrance of the stucks in the air, 14:00.240 --> 14:03.240 the conversation about the marble, the flowers, 14:03.240 --> 14:07.240 everything as though I had experienced it before. 14:07.240 --> 14:14.240 And yet I knew that I'd never ever been in this section of town before. 14:14.240 --> 14:17.240 I tried to persuade myself that at least I'd seen him before. 14:17.240 --> 14:24.240 That his face, unknown to me, had found a place in some out-of-the-way corner of my memory. 14:24.240 --> 14:29.240 But I knew that I was practicing little more than a plausible piece of self-deception. 14:29.240 --> 14:34.240 As I sat there quietly watching him, he looked up at me and he said... 14:34.240 --> 14:37.240 There! What do you think of that? 14:37.240 --> 14:42.240 He said it with an air of evident pride, of a job well done. 14:42.240 --> 14:47.240 I could sense that he was experiencing the same feeling I had experienced 14:47.240 --> 14:49.240 when I'd finished my sketch. 14:49.240 --> 14:54.240 Then he got up with a sigh of relief. 14:54.240 --> 14:57.240 Hot! Hot, ain't it? 14:57.240 --> 15:01.240 I was seated in such a position that I was unable to see his work. 15:01.240 --> 15:04.240 And for some reason, I didn't move. 15:04.240 --> 15:09.240 Suddenly, he began to read what he'd carved on the tombstone. 15:09.240 --> 15:12.240 He spoke deliberately and with a flat voice. 15:12.240 --> 15:16.240 In the midst of life, we are in death. 15:16.240 --> 15:22.240 Born January 18, 1905. 15:22.240 --> 15:24.240 I looked up at the start. 15:24.240 --> 15:29.240 This man had read my exact birthday. 15:34.240 --> 15:42.240 He passed away very suddenly on August 20, 1945. 15:43.240 --> 15:45.240 That's today. 15:45.240 --> 15:50.240 We usually use the present date on these exhibition staves. 15:50.240 --> 15:52.240 Do you... 15:52.240 --> 15:58.240 Do you usually put a name on them too? 15:58.240 --> 16:00.240 Yes, yes. 16:00.240 --> 16:19.240 Sacred to the memory of James Clarence Wythencroft. 16:21.240 --> 16:27.240 Cold shudders swept over me, and I sat there in silence. 16:27.240 --> 16:33.240 The sound of birds and crickets seemed loud in my ears as we stood there, 16:33.240 --> 16:37.240 looking at each other, saying nothing. 16:37.240 --> 16:39.240 Then he mopped his brow again. 16:39.240 --> 16:42.240 Hot! Hot! 16:42.240 --> 16:45.240 I was finally able to speak. 16:45.240 --> 16:48.240 Where... where did you see that name? 16:48.240 --> 16:50.240 Oh, I didn't see it anywhere. 16:50.240 --> 16:55.240 I wanted some name, and I put down the first that came into my head. 16:55.240 --> 17:00.240 It's a strange coincidence, but it happens to be mine. 17:00.240 --> 17:04.240 Huh? That's your name? 17:04.240 --> 17:07.240 You're James Clarence... 17:07.240 --> 17:10.240 Wythencroft. Yes. 17:10.240 --> 17:12.240 Well... 17:12.240 --> 17:14.240 Whew! 17:14.240 --> 17:19.240 And the dates? 17:19.240 --> 17:23.240 I can only answer for the birth date. 17:23.240 --> 17:25.240 It's correct. 17:25.240 --> 17:33.240 Oh! That's a rum, girl. 17:33.240 --> 17:38.240 I made a sketch this morning... of you. 17:38.240 --> 17:43.240 Of me? But you've never seen me before. 17:43.240 --> 17:45.240 No. 17:45.240 --> 17:49.240 Oh. Oh. 17:49.240 --> 17:54.240 I took my sketch from my pocket and I showed it to him. 17:54.240 --> 17:57.240 As he looked, the expression on his face altered, 17:57.240 --> 18:01.240 until it became more and more like that of the man I had drawn. 18:01.240 --> 18:04.240 And it was only the other day before 18:04.240 --> 18:09.240 that I told Moriah there were no such things as ghosts. 18:09.240 --> 18:12.240 Neither of us had seen a ghost, but I knew what he meant. 18:12.240 --> 18:14.240 Then I spoke to him. 18:14.240 --> 18:18.240 You... you probably heard my name someplace. 18:18.240 --> 18:21.240 Yes. You must have seen me somewhere and forgotten it. 18:21.240 --> 18:23.240 Yes. Yes. 18:23.240 --> 18:27.240 Were you at Clacton on sea last July? 18:27.240 --> 18:31.240 No. No. I've never been to Clacton in my life. 18:31.240 --> 18:35.240 Oh. 18:35.240 --> 18:38.240 And we were silent for some time again. 18:38.240 --> 18:41.240 And we stood there looking at one another 18:41.240 --> 18:44.240 and at the two dates on the gravestone. 18:44.240 --> 18:47.240 And the birth, one was right, 18:47.240 --> 18:50.240 and the other was today. 18:50.240 --> 18:55.240 Well, come inside and have some supper. 19:11.240 --> 19:14.240 His wife was a strange little woman 19:14.240 --> 19:18.240 who was pallid with the look of those who lived their lives indoors. 19:18.240 --> 19:21.240 Her husband introduced me as a friend of his who was an artist, 19:21.240 --> 19:25.240 and he informed her that I was staying to supper. 19:25.240 --> 19:30.240 I spoke, making some comment that I hoped I wouldn't be an intrusion, 19:30.240 --> 19:32.240 and she looked up at me and she said, 19:32.240 --> 19:35.240 You have a pleasing voice, Mr. Withencroft, 19:35.240 --> 19:37.240 and you're welcome in my home. 19:37.240 --> 19:44.240 I'm sorry Charles has not brought you here before. 19:49.240 --> 19:52.240 Very little was said during the meal, 19:52.240 --> 19:56.240 and after the sardines and watercress had been removed, 19:56.240 --> 19:58.240 she walked over to her cupboard, 19:58.240 --> 20:00.240 and she took down a thin black book, 20:00.240 --> 20:03.240 and as she handed it to me, she spoke. 20:03.240 --> 20:06.240 Would you read aloud, Mr. Withencroft? 20:06.240 --> 20:12.240 Puzzled, I looked down at the book which she'd opened and placed before me. 20:12.240 --> 20:16.240 It was a very tiny book, The Prophet, it was called, 20:16.240 --> 20:20.240 by an author run known to me with a strange Eastern name, 20:20.240 --> 20:22.240 Carlyle Gibran, 20:22.240 --> 20:24.240 and my eyes fell across the page, 20:24.240 --> 20:31.240 and suddenly I was reading aloud as she'd asked me to. 20:31.240 --> 20:36.240 Then Nalmitra spoke, saying, We would ask now of death, 20:36.240 --> 20:42.240 and he said, You would know the secret of death, 20:42.240 --> 20:47.240 but how shall you find it unless you seek it in the heart of life? 20:47.240 --> 20:52.240 The owl whose night-bound eyes are blind unto the day 20:52.240 --> 20:56.240 cannot unveil the mystery of light. 20:56.240 --> 20:59.240 If you would indeed behold the spirit of death, 20:59.240 --> 21:03.240 open your heart wide unto the body of life, 21:03.240 --> 21:09.240 for life and death are one, even as the river and the sea are one. 21:09.240 --> 21:12.240 In the depth of your hopes and desires 21:12.240 --> 21:17.240 lies your silent knowledge of the beyond. 21:17.240 --> 21:20.240 Unlike seeds dreaming beneath the snow, 21:20.240 --> 21:23.240 your heart dreams of spring. 21:23.240 --> 21:28.240 Trust the dreams, for in them is hidden the gate to eternity. 21:28.240 --> 21:32.240 Your fear of death is but the trembling of the shepherd, 21:32.240 --> 21:38.240 when he stands before the king whose hand is to be laid upon him in honor. 21:38.240 --> 21:42.240 Is the shepherd not joyful beneath his trembling, 21:42.240 --> 21:45.240 that he shall wear the mark of the king? 21:45.240 --> 21:50.240 Yet is he not more mindful of his trembling. 21:50.240 --> 21:56.240 For what is it to die but to stand naked in the wind and to melt into the sun? 21:56.240 --> 22:01.240 And what is it to cease breathing but to free the breath from its restless tides, 22:01.240 --> 22:06.240 that it may rise and expand and seek God unencumbered? 22:06.240 --> 22:12.240 Only when you drink from the river of silence shall you indeed sing. 22:12.240 --> 22:17.240 And when you have reached the mountaintop, then you shall begin to climb. 22:17.240 --> 22:39.240 And when the earth shall claim your limbs, then shall you truly dance. 22:39.240 --> 22:42.240 When I looked up, Mr. Atkinson had gone, 22:42.240 --> 22:45.240 but his wife stood before me, and as she took the book, she spoke. 22:45.240 --> 22:47.240 Thank you. 22:47.240 --> 22:54.240 Then I went outside, and I found Atkinson sitting on the gravestone and smoking. 22:54.240 --> 22:56.240 He looked up at me. 22:56.240 --> 23:02.240 Hot, hot. 23:02.240 --> 23:10.240 Man's not responsible for what he might do in this heat. 23:10.240 --> 23:14.240 She never'd asked anyone to read aloud before. 23:14.240 --> 23:16.240 And then we talked about the sketch again. 23:16.240 --> 23:18.240 He looked at it. 23:18.240 --> 23:21.240 Likeness is me, all right. 23:21.240 --> 23:23.240 On trial. 23:23.240 --> 23:29.240 You must excuse my asking, but do you know anything you've done 23:29.240 --> 23:31.240 for which you could be put on trial? 23:31.240 --> 23:36.240 No, I've done nothing. Not yet. 23:36.240 --> 23:42.240 He got up, fetched a can from the porch, and he began to water the flowers. 23:42.240 --> 23:44.240 Twice a day, regular, in the hot weather. 23:44.240 --> 23:48.240 And then he'd sometimes get the better of the delicate ones, and ferns. 23:48.240 --> 23:51.240 Good Lord, they could never stand it. 23:51.240 --> 23:52.240 Where do you live? 23:52.240 --> 23:54.240 I told him my address. 23:54.240 --> 23:57.240 It would take an hour's quick walk to get back home. 23:57.240 --> 24:01.240 And he stopped watering, and he faced me squarely. 24:01.240 --> 24:03.240 It's like this. 24:03.240 --> 24:05.240 We look at the matter straight. 24:05.240 --> 24:08.240 If you both go back home tonight, you'd take your chance of accidents. 24:08.240 --> 24:10.240 A carp may turn over you. 24:10.240 --> 24:13.240 It's always banana skins and orange peels. 24:13.240 --> 24:16.240 They say nothing of falling ladders. 24:16.240 --> 24:19.240 He spoke of the improbable with an intense seriousness 24:19.240 --> 24:23.240 that would have been laughable six hours before. 24:23.240 --> 24:25.240 But I did not laugh. 24:25.240 --> 24:29.240 The best thing we can do is for you to stay here till 12 o'clock. 24:29.240 --> 24:32.240 Then it'll be tomorrow, do you see? 24:32.240 --> 24:33.240 Yes. 24:33.240 --> 24:37.240 We'll go upstairs and smoke. 24:37.240 --> 24:40.240 It may be cooler inside. 24:40.240 --> 24:43.240 And to my surprise, I agreed. 24:53.240 --> 24:58.240 We are sitting in a long, low room beneath the eaves. 24:58.240 --> 25:03.240 Atkinson has sent his wife to bed. 25:03.240 --> 25:08.240 He himself is busy sharpening some tools at a little oilstone, 25:08.240 --> 25:12.240 smoking one of my cigars the while. 25:12.240 --> 25:15.240 And as I look at my sketch before me, 25:15.240 --> 25:18.240 I suddenly see the fuzzy outline of what the man in the picture 25:18.240 --> 25:21.240 holds in his hands. 25:21.240 --> 25:24.240 But while I had not been able to sketch it before, 25:24.240 --> 25:27.240 I am able to do so now. 25:27.240 --> 25:32.240 It is a chisel. 25:32.240 --> 25:37.240 And it is stained with dark liquid. 25:41.240 --> 25:46.240 The sketch is completed now. 25:46.240 --> 25:50.240 The air seems charged with thunder. 25:50.240 --> 25:55.240 And I hear it in the distance. 25:55.240 --> 26:00.240 It is ominous, but it carries the hope of rain. 26:00.240 --> 26:05.240 Perhaps this damnable heat will be broken soon, 26:05.240 --> 26:08.240 and the day will soon be over. 26:08.240 --> 26:13.240 It is close to twelve. 26:13.240 --> 26:20.240 I am writing this at a shaky table before the open window. 26:20.240 --> 26:22.240 The leg is cracked. 26:22.240 --> 26:28.240 And Atkinson, who seems a handy man with his tools, 26:28.240 --> 26:33.240 is going to mend it as soon as he has finished putting an edge 26:33.240 --> 26:37.240 on his chisel. 26:37.240 --> 26:39.240 There. 26:39.240 --> 26:41.240 It is twelve. 26:41.240 --> 26:44.240 The day is over. 26:44.240 --> 26:49.240 And I shall be going home. 26:49.240 --> 27:01.240 But the heat, the heat is tifling. 27:01.240 --> 27:23.240 This heat is enough to send a man mad. 27:31.240 --> 27:36.240 And so closes August Heat, in which Roma wines have brought you 27:36.240 --> 27:40.240 Ronald Coleman as star of tonight's study in Suspense. 27:40.240 --> 27:44.240 Suspense is produced, edited, and directed by William Spear. 27:44.240 --> 27:47.240 Music for August Heat was composed by Lucian Morrowick 27:47.240 --> 27:49.240 and conducted by Lutte Gluskin. 27:49.240 --> 27:51.240 Dennis Hoy appeared as Atkinson. 27:51.240 --> 27:54.240 This is Truman Bradley with a word for Roma Wines, 27:54.240 --> 27:56.240 the sponsor of Suspense. 27:56.240 --> 27:35.880 American music is a 27:35.880 --> 27:39.880 And so closes August Heat, in which Roma wines have brought you 27:39.880 --> 27:43.880 Ronald Coleman as star of tonight's study in Suspense. 27:43.880 --> 27:47.880 Suspense is produced, edited, and directed by William Spear. 27:47.880 --> 27:50.880 Music for August Heat was composed by Lucian Morrowick 27:50.880 --> 27:52.880 and conducted by Lutte Gluskin. 27:52.880 --> 27:54.880 Dennis Hoy appeared as Atkinson. 27:54.880 --> 27:57.880 This is Truman Bradley with a word for Roma Wines, 27:57.880 --> 27:59.880 the sponsor of Suspense. 27:59.880 --> 28:03.880 America's famed authority on hospitality, Elson Maxwell, 28:03.880 --> 28:06.880 recently made this suggestion for gracious entertainment. 28:06.880 --> 28:09.880 Your friends will respect your good taste 28:09.880 --> 28:12.880 when you serve delightful Roma California Toque, 28:12.880 --> 28:14.880 enjoyable at any time, 28:14.880 --> 28:17.880 with coffee or dessert, with nuts and fruit. 28:17.880 --> 28:20.880 I suggest serving Roma Toque cool. 28:20.880 --> 28:23.880 A most timely suggestion for Miss Maxwell. 28:23.880 --> 28:26.880 You'll find flame-bright Roma Toque velvety smooth, 28:26.880 --> 28:30.880 moderately sweet, light, yet delightfully rich in color, 28:30.880 --> 28:33.880 and you'll find Roma wines always delicious 28:33.880 --> 28:36.880 of unvarying fine quality and goodness. 28:36.880 --> 28:38.880 June is the month of weddings, 28:38.880 --> 28:41.880 and the most distinguished way to pay the June bride 28:41.880 --> 28:44.880 is by serving Roma California Champagne. 28:44.880 --> 28:48.880 Its gold and sparkle and delicious delightful dryness 28:48.880 --> 28:53.880 tell you that here is a truly fine champagne, Roma Champagne. 28:53.880 --> 28:56.880 Next time you plan for a special occasion, 28:56.880 --> 28:58.880 add this sparkling touch of perfection, 28:58.880 --> 29:00.880 good Roma Champagne. 29:00.880 --> 29:04.880 Next Thursday you will hear John Payne and Frank McHugh 29:04.880 --> 29:07.880 as stars of Suspense. 29:07.880 --> 29:12.880 presented by Roma Wines, R-O-M-A, 29:12.880 --> 29:16.880 made in California for enjoyment throughout the world. 29:16.880 --> 29:28.880 This is CBS, the Columbia Broadcasting System.