1 00:00:00,000 --> 00:00:07,600 Yes, Roma wines taste better because only Roma selects from the world's greatest wine 2 00:00:07,600 --> 00:00:11,100 reserves for your pleasure. 3 00:00:11,100 --> 00:00:19,400 And now, Roma Wines, R-O-M-A, Roma Wines present Suspense. 4 00:00:19,400 --> 00:00:26,680 Tonight, Roma Wines bring you Miss Angela Lansbury in A Thing of Beauty, a suspense 5 00:00:26,680 --> 00:00:34,280 play produced, edited, and directed for Roma Wines by William Spear. 6 00:00:34,280 --> 00:00:41,200 Suspense, radio's outstanding theater of thrills, is presided for your enjoyment by Roma Wines. 7 00:00:41,200 --> 00:00:48,880 That's R-O-M-A, Roma Wines, those better tasting California wines enjoyed by more Americans 8 00:00:48,880 --> 00:00:53,680 than any other wine, for friendly entertaining, for delightful dining. 9 00:00:53,680 --> 00:00:58,640 Yes, right now a glass full would be very pleasant, as Roma Wines bring you Angela 10 00:00:58,640 --> 00:01:03,280 Lansbury in A Remarkable Tale of Suspense. 11 00:01:03,280 --> 00:01:12,680 Now, if you will give me your arm. 12 00:01:12,680 --> 00:01:13,680 Yes, sir. 13 00:01:13,680 --> 00:01:14,680 Oh, thank you. 14 00:01:14,680 --> 00:01:16,880 I think we should just miss the storm, if we hurry. 15 00:01:16,880 --> 00:01:18,680 A rather somber place, isn't it? 16 00:01:18,680 --> 00:01:23,080 It gives her seclusion, and that's all she's ever asked for since she came here. 17 00:01:23,080 --> 00:01:26,680 Just what little spiritual comfort I've been able to give her. 18 00:01:26,680 --> 00:01:28,680 How long ago was that, sir? 19 00:01:28,680 --> 00:01:29,680 That she came here, I mean? 20 00:01:29,680 --> 00:01:34,360 Oh, eight, let me see, oh no, no, no, nine, nine years ago in May. 21 00:01:34,360 --> 00:01:37,280 But it was long before that she left the stage. 22 00:01:37,280 --> 00:01:43,280 Oh, she was nearly ten years in an institution, a mental disorder, though it's not her mind 23 00:01:43,280 --> 00:01:45,080 was ever sick or I mistaken. 24 00:01:45,080 --> 00:01:48,080 They do say she's a bit on the eccentric side, though. 25 00:01:48,080 --> 00:01:53,480 You'll be her spiritual advisor yourself soon enough, when I've retired, and I want you 26 00:01:53,480 --> 00:01:54,480 to meet her without prejudice. 27 00:01:54,480 --> 00:01:59,840 And one day I'll tell you what I know, which goodness knows is little enough, and what 28 00:01:59,840 --> 00:02:03,080 I have reason to believe, which is somewhat more. 29 00:02:03,080 --> 00:02:09,440 Ah, it seems we'll just about escape a branch. 30 00:02:09,440 --> 00:02:10,680 She lives completely alone? 31 00:02:10,680 --> 00:02:13,080 Oh, the one servant, that's all. 32 00:02:13,080 --> 00:02:15,080 Oh, Father Bentham. 33 00:02:15,080 --> 00:02:16,080 Ah, Suzette. 34 00:02:16,080 --> 00:02:19,080 This is my new curate, the Reverend Mr. Sedley. 35 00:02:19,080 --> 00:02:21,080 We're here to see Miss Tremaine. 36 00:02:21,080 --> 00:02:24,080 Well, does she know you are not alone? 37 00:02:24,080 --> 00:02:26,080 My good Suzette, I haven't any idea. 38 00:02:26,080 --> 00:02:29,080 But you might let us in out of the rain while you so inform her. 39 00:02:29,080 --> 00:02:32,080 But if... very well, come in. 40 00:02:32,080 --> 00:02:34,080 Ah, thank you, thank you. 41 00:02:34,080 --> 00:02:38,080 If you will wait in the study, I will ask if Mademoiselle is able to see you. 42 00:02:38,080 --> 00:02:41,080 What in the world's gotten into the woman? 43 00:02:41,080 --> 00:02:46,080 She knows Miss Tremaine's been seeing me every fortnight at the same time for nine years. 44 00:02:46,080 --> 00:02:48,080 There's a picture here. 45 00:02:48,080 --> 00:02:49,080 Is it of her? 46 00:02:49,080 --> 00:02:50,080 Probably. 47 00:02:50,080 --> 00:02:52,080 My word, she was a beauty. 48 00:02:52,080 --> 00:02:54,080 Ah, your father could have told you. 49 00:02:54,080 --> 00:02:57,080 Ah, yes, she was a legend of two continents. 50 00:02:57,080 --> 00:03:02,080 It must have been a very tragic thing to make a woman like that shut herself away. 51 00:03:02,080 --> 00:03:05,080 Is it true, sir, that she sees no one but you? 52 00:03:05,080 --> 00:03:06,080 No one. 53 00:03:06,080 --> 00:03:10,080 As far as I know, she has never set foot outside this house in all the time she's been here. 54 00:03:10,080 --> 00:03:14,080 Nor has she ever had a single visitor beside myself. 55 00:03:14,080 --> 00:03:15,080 But why? 56 00:03:15,080 --> 00:03:19,080 Mademoiselle will see you now, Father, in her parlor across the hall. 57 00:03:19,080 --> 00:03:21,080 Oh, thank you, Susie. 58 00:03:26,080 --> 00:03:27,080 Father Benson. 59 00:03:27,080 --> 00:03:28,080 Ah, hello, hello. 60 00:03:28,080 --> 00:03:29,080 Come in, come in. 61 00:03:29,080 --> 00:03:30,080 Thank you. 62 00:03:30,080 --> 00:03:36,080 I do hope you don't mind my receiving you in the dark, but I have a mortal dread of life during the storm. 63 00:03:36,080 --> 00:03:38,080 Oh, not at all, my dear. 64 00:03:38,080 --> 00:03:42,080 You'll find two quite comfortable chairs just there by the window, I think. 65 00:03:42,080 --> 00:03:44,080 Oh, thank you, thank you. 66 00:03:44,080 --> 00:03:47,080 Madeline, this is my new curate, Mr. Sedley. 67 00:03:47,080 --> 00:03:49,080 Oh, yes, Mr. Sedley. 68 00:03:49,080 --> 00:03:52,080 It's a great pleasure to meet the famous beauty, even in the dark. 69 00:03:52,080 --> 00:03:56,080 Yes, I suppose you've heard of my beauty, Mr. Sedley. 70 00:03:56,080 --> 00:04:02,080 You know, as you came in, I was looking at this little gold mirror, engraved on the back of the words, 71 00:04:02,080 --> 00:04:04,080 a thing of beauty is a joy forever. 72 00:04:04,080 --> 00:04:05,080 Ah, Keats. 73 00:04:05,080 --> 00:04:07,080 Yes, Oscar gave it to me. 74 00:04:07,080 --> 00:04:08,080 Oh? 75 00:04:08,080 --> 00:04:10,080 He said it was a magic mirror. 76 00:04:10,080 --> 00:04:16,080 When you are very old, Madeline, he said, you will only have to look in it to see yourself as you are now, 77 00:04:16,080 --> 00:04:18,080 young and radiant and a joy forever. 78 00:04:18,080 --> 00:04:24,080 And I've believed ever since that Oscar was really something of a magician, because you know it's true. 79 00:04:24,080 --> 00:04:28,080 Was that Oscar wild, Mr. Maine? 80 00:04:28,080 --> 00:04:33,080 Yes, dear Oscar, dear dead days. 81 00:04:33,080 --> 00:04:39,080 I suppose you've already heard of all the wild tales of my lurid past, Mr. Sedley? 82 00:04:39,080 --> 00:04:41,080 Oh, no, Miss Tremaine, I assure you I... 83 00:04:41,080 --> 00:04:46,080 I don't believe that Father Bentham has ever caught me in a very reminiscing mood, have you, Father? 84 00:04:46,080 --> 00:04:52,080 But since you will one day be vicar here, Mr. Sedley, perhaps it would be better if you heard the truth from me. 85 00:04:52,080 --> 00:04:53,080 Miss Tremaine, don't think I... 86 00:04:53,080 --> 00:04:55,080 Oh, the truth is wild enough. 87 00:04:55,080 --> 00:05:03,080 It all began, I suppose, when John Gaylord gave me my first speaking part. 88 00:05:03,080 --> 00:05:07,080 That was, oh, too far ago to tell. 89 00:05:07,080 --> 00:05:09,080 My hair was a little darker. 90 00:05:09,080 --> 00:05:12,080 My voice was not quite as rich as it is now. 91 00:05:12,080 --> 00:05:15,080 Tifle more silvery, perhaps. 92 00:05:15,080 --> 00:05:23,080 John and Nell gathered for the leads, and my part, well, was one of those obscure little parts that no one pays any attention to 93 00:05:23,080 --> 00:05:28,080 until some obscure little actress comes along and makes the start of a career with it. 94 00:05:32,080 --> 00:05:37,080 It was then that I first experienced what will always be to me in all the range of human feelings, 95 00:05:37,080 --> 00:05:45,080 the supreme exaltation when you hear the full frenzied applause of an audience, for you, for you alone. 96 00:05:45,080 --> 00:05:53,080 Thank you, thank you. 97 00:06:01,080 --> 00:06:02,080 Yes? 98 00:06:02,080 --> 00:06:03,080 Madeline, may I see you? 99 00:06:03,080 --> 00:06:05,080 Oh, come in, John. 100 00:06:05,080 --> 00:06:08,080 Madeline, you are marvelous, simply marvelous. 101 00:06:08,080 --> 00:06:09,080 Thank you, John. 102 00:06:09,080 --> 00:06:10,080 Such a little fool. 103 00:06:10,080 --> 00:06:11,080 A fool? 104 00:06:11,080 --> 00:06:15,080 I've told you to play the part down, but it's getting worse and worse tonight. She's absolutely furious. 105 00:06:15,080 --> 00:06:17,080 She's going to make trouble for you, Madeline. 106 00:06:17,080 --> 00:06:19,080 Trouble? What kind of trouble? 107 00:06:19,080 --> 00:06:21,080 Oh, you don't know Nellie Garrett. 108 00:06:21,080 --> 00:06:23,080 But I know my audience, don't I? 109 00:06:23,080 --> 00:06:26,080 Madeline, you're so young and foolish and so beautiful. 110 00:06:26,080 --> 00:06:27,080 Why, thank you, John. 111 00:06:27,080 --> 00:06:29,080 So terribly beautiful. 112 00:06:29,080 --> 00:06:31,080 Oh, John, you're leading up to it again, aren't you? 113 00:06:31,080 --> 00:06:36,080 Madeline, this play isn't going to last forever. Even you can't keep it alive much longer. 114 00:06:36,080 --> 00:06:40,080 Mighty, why don't we make plans together now? We could have our own company. 115 00:06:40,080 --> 00:06:42,080 As the great John Gaylord and Mrs. Gaylord? 116 00:06:42,080 --> 00:06:47,080 No, no, of course not. Why, in a couple of years, you'll be as famous in your own right as Nell Garrett herself. 117 00:06:47,080 --> 00:06:52,080 Perhaps I don't want to wait a couple of years. Besides, John, I don't love you. 118 00:06:52,080 --> 00:06:55,080 Oh, well, do you love anyone? 119 00:06:55,080 --> 00:07:01,080 No, but when I marry, it will be, oh, it will be an up-and-coming young member of Parliament like you. 120 00:07:01,080 --> 00:07:03,080 Some of you must know where she is. I want to see her. 121 00:07:03,080 --> 00:07:05,080 Oh, you're in for it now, Madeline. 122 00:07:05,080 --> 00:07:07,080 Right away. No. So there you are, my fine. 123 00:07:07,080 --> 00:07:09,080 Oh, go easy, Miss Garrett. She's meant no harm. 124 00:07:09,080 --> 00:07:15,080 No harm, indeed. She has merely ruined my entire last act curtain for 29 consecutive performances, 125 00:07:15,080 --> 00:07:20,080 hoisting her skirts clear above the ankle, opening the stalls like a music hall wretched... 126 00:07:20,080 --> 00:07:21,080 Well, don't it becauses that kind of a fud... 127 00:07:21,080 --> 00:07:24,080 Oh, is it, indeed? Well, as long as I play the lead in this company, 128 00:07:24,080 --> 00:07:31,080 I will not have my best speech in the whole play utterly ruined by rowdy applause for the gutter antics of a half-baked, aren't you? 129 00:07:31,080 --> 00:07:33,080 Oh, Nell, please, you're making a fool of yourself. 130 00:07:33,080 --> 00:07:37,080 And while we're on the subject, Mr. Gaylord, there are a few points I should like to discuss with you. 131 00:07:37,080 --> 00:07:40,080 When you help Miss Tremaine down from the swing in the second act, 132 00:07:40,080 --> 00:07:44,080 there's no need for you to keep your arm around her during the entire remainder of the scene. 133 00:07:44,080 --> 00:07:48,080 I'll admit that she appears ready to swoon at any moment, 134 00:07:48,080 --> 00:07:51,080 but one peep show performance is quite enough for an evening in Drury Lane. 135 00:07:51,080 --> 00:07:57,080 Well, really, Miss Garrett, if you can no longer hold either your audiences or your lovers... 136 00:07:57,080 --> 00:07:59,080 You cheap... Nell! 137 00:07:59,080 --> 00:08:07,080 I'll kill you for that, Nell Garrett. If I die for it, I'll kill you. 138 00:08:12,080 --> 00:08:19,080 I left the theatre and walked aimlessly out into the night, my eyes blinded with tears. 139 00:08:19,080 --> 00:08:25,080 Young, yes. Foolish as I was, I believe my poor little heart was truly broken. 140 00:08:25,080 --> 00:08:32,080 For I knew that Nell Garrett could ruin me with every theatre manager in London, and I knew she would. 141 00:08:32,080 --> 00:08:39,080 How long I wandered through those misty streets, or where, or even what I did, I shall never know. 142 00:08:39,080 --> 00:08:48,080 But just as dawn was breaking, I found myself by some odd twist of fate passing by the lodgings of John Gaylord. 143 00:08:48,080 --> 00:08:54,080 On a sudden impulse, I climbed the steps to his door. 144 00:08:57,080 --> 00:08:59,080 Yes? Madeline! 145 00:08:59,080 --> 00:09:00,080 Hello, John. 146 00:09:00,080 --> 00:09:02,080 My darling, did anyone see you? 147 00:09:02,080 --> 00:09:03,080 See me? 148 00:09:03,080 --> 00:09:05,080 Come in, come in. Where have you been? 149 00:09:05,080 --> 00:09:07,080 Just walking, walking. 150 00:09:07,080 --> 00:09:08,080 Good Lord. Alone? 151 00:09:08,080 --> 00:09:09,080 Yes, why? 152 00:09:09,080 --> 00:09:11,080 Don't you know? 153 00:09:11,080 --> 00:09:13,080 Yes, John, I'm afraid I do. My career... 154 00:09:13,080 --> 00:09:16,080 Your career? Oh, my poor child. 155 00:09:16,080 --> 00:09:17,080 John, what is it? 156 00:09:17,080 --> 00:09:21,080 Don't you know that Nell Garrett's been found dead with a knife in her back? 157 00:09:21,080 --> 00:09:22,080 Dead? 158 00:09:22,080 --> 00:09:23,080 Murdered. 159 00:09:23,080 --> 00:09:24,080 Oh, John! 160 00:09:24,080 --> 00:09:28,080 The police have been looking all over London for you. I've been expecting them here every moment. 161 00:09:28,080 --> 00:09:29,080 For me? 162 00:09:29,080 --> 00:09:31,080 Of course for you. 163 00:09:31,080 --> 00:09:32,080 But why? 164 00:09:32,080 --> 00:09:37,080 Madeline, last night you threatened to kill her in front of a dozen witnesses. Why wouldn't they be looking for you? 165 00:09:37,080 --> 00:09:43,080 Now, Madeline, listen to me, listen to me now. Where did you go? What did you do? Didn't anyone see you? Didn't you talk to anyone? 166 00:09:43,080 --> 00:09:44,080 No, Lord. 167 00:09:44,080 --> 00:09:46,080 But you've got to tell them something. 168 00:09:46,080 --> 00:09:48,080 What can I tell them something? 169 00:09:48,080 --> 00:09:49,080 Because if you don't, they'll... 170 00:09:49,080 --> 00:09:50,080 John! 171 00:09:50,080 --> 00:09:51,080 Yes, yes, they'll hang you, Madeline. 172 00:09:51,080 --> 00:09:52,080 Oh, no. 173 00:09:52,080 --> 00:09:55,080 Please, Madeline, you've got to think, try to remember something. 174 00:09:55,080 --> 00:09:58,080 I'm so alone, if only I had a friend. 175 00:09:58,080 --> 00:10:01,080 You have got a friend, Madeline. I'm your friend, believe me. 176 00:10:01,080 --> 00:10:04,080 Someone who loved me enough to at least say they were with me. 177 00:10:04,080 --> 00:10:05,080 Just a moment. 178 00:10:05,080 --> 00:10:06,080 Oh. 179 00:10:06,080 --> 00:10:09,080 Shh. Who is it? 180 00:10:09,080 --> 00:10:11,080 Inspector Kellis, Scotland Yard. 181 00:10:11,080 --> 00:10:12,080 Madeline, in there, quickly, in the bedroom. 182 00:10:12,080 --> 00:10:13,080 John! 183 00:10:13,080 --> 00:10:16,080 Don't worry, I'll tell them something, hurry. 184 00:10:16,080 --> 00:10:22,080 I'm coming. 185 00:10:22,080 --> 00:10:24,080 I'm sorry to rouse you at this early hour, sir. 186 00:10:24,080 --> 00:10:27,080 Quite all right, sir, come in. 187 00:10:27,080 --> 00:10:29,080 You are Mr. John Gaylord? 188 00:10:29,080 --> 00:10:30,080 Yes. 189 00:10:30,080 --> 00:10:32,080 Of the Queen's Players Company, Drury Lane? 190 00:10:32,080 --> 00:10:33,080 Yes. 191 00:10:33,080 --> 00:10:38,080 Can you tell me, Mr. Gaylord, anything of the whereabouts of Miss Madeline Tremaine? 192 00:10:38,080 --> 00:10:39,080 Madeline Tremaine? 193 00:10:39,080 --> 00:10:40,080 Yes. 194 00:10:40,080 --> 00:10:41,080 Why, I... 195 00:10:41,080 --> 00:10:43,080 Call me, darling. 196 00:10:43,080 --> 00:10:45,080 Oh, excuse me. 197 00:10:45,080 --> 00:10:47,080 Who is this lady, Mr. Gaylord? 198 00:10:47,080 --> 00:10:49,080 Well, who are you? 199 00:10:49,080 --> 00:10:51,080 I'm from the police, madam. 200 00:10:51,080 --> 00:10:52,080 Police? 201 00:10:52,080 --> 00:10:53,080 There's been a murder. 202 00:10:53,080 --> 00:10:58,080 Miss Nell Garrett of the Queen's Company was found stabbed in her home last night. 203 00:10:58,080 --> 00:10:59,080 Nell Garrett? 204 00:10:59,080 --> 00:11:01,080 Yes. You know her? 205 00:11:01,080 --> 00:11:03,080 Why, of course this is my... 206 00:11:03,080 --> 00:11:07,080 I'm afraid, madam, that I shall have to ask you for your name. 207 00:11:07,080 --> 00:11:12,080 Madeline Tremaine. I'm so sorry that you find me somewhat in disarray. 208 00:11:12,080 --> 00:11:19,080 Miss Tremaine, I'm afraid I shall also have to ask you to account for your whereabouts after you left the theatre last night. 209 00:11:19,080 --> 00:11:23,080 Very well. Mr. Gaylord can account for my whereabouts. 210 00:11:23,080 --> 00:11:26,080 Well, Mr. Gaylord, I... 211 00:11:26,080 --> 00:11:36,080 You see, Inspector, it's rather a delicate matter, because since I left the theatre last night, I've been here. 212 00:11:36,080 --> 00:11:38,080 Is that true, Mr. Gaylord? 213 00:11:38,080 --> 00:11:42,080 Yes, quite true, Inspector. 214 00:11:42,080 --> 00:11:44,080 Ah, I see. 215 00:11:44,080 --> 00:11:47,080 Is that satisfactory, Inspector? 216 00:11:47,080 --> 00:11:53,080 Yes, yes. Well, I don't think I need trouble you any further for the moment. 217 00:11:53,080 --> 00:11:58,080 I quite understand your position, Inspector. It's a terrible, terrible thing. 218 00:11:58,080 --> 00:12:01,080 Yes. Well, good day to you. 219 00:12:01,080 --> 00:12:04,080 Good day, sir. 220 00:12:04,080 --> 00:12:06,080 Oh, Madeline. 221 00:12:06,080 --> 00:12:07,080 Yes, John? 222 00:12:07,080 --> 00:12:11,080 Madeline, you shouldn't have done it. Why, they'll have the scandal all over every newspaper in the city. 223 00:12:11,080 --> 00:12:13,080 Well, a scandal is better than a hanging, isn't it? 224 00:12:13,080 --> 00:12:17,080 Oh, but there must have been some other way. Now they'll tear you to shreds. 225 00:12:17,080 --> 00:12:20,080 They won't have you in anything better than a music hall for the rest of your life. 226 00:12:20,080 --> 00:12:23,080 John, there won't be any scandal if... 227 00:12:23,080 --> 00:12:25,080 If what? 228 00:12:25,080 --> 00:12:31,080 John, it wasn't just my tiff with Nell Garrett that sent me wandering through the fog last night. 229 00:12:31,080 --> 00:12:34,080 I was thinking about something much more serious. 230 00:12:34,080 --> 00:12:35,080 What do you mean? 231 00:12:35,080 --> 00:12:38,080 I was thinking about what you said. 232 00:12:38,080 --> 00:12:40,080 What I had said? 233 00:12:40,080 --> 00:12:46,080 John, perhaps I don't really love you yet, but there's no one else. 234 00:12:46,080 --> 00:12:50,080 And you're the finest, kindest man I've ever known. 235 00:12:50,080 --> 00:12:51,080 Madeline. 236 00:12:51,080 --> 00:12:53,080 And now perhaps you've saved my life. 237 00:12:53,080 --> 00:12:58,080 Oh, Madeline, I... I love you more than anything else in this world. 238 00:12:58,080 --> 00:13:01,080 But I wouldn't have you marry me for gratitude. 239 00:13:01,080 --> 00:13:04,080 I wouldn't marry any man for gratitude. 240 00:13:04,080 --> 00:13:10,080 Madeline, if... if I were to tell you that I wasn't here last night either, 241 00:13:10,080 --> 00:13:13,080 that I couldn't explain my whereabouts... 242 00:13:13,080 --> 00:13:15,080 Oh, I see. 243 00:13:15,080 --> 00:13:18,080 Would you still marry me? 244 00:13:18,080 --> 00:13:33,080 Yes, John, I will marry you. 245 00:13:33,080 --> 00:13:38,080 For suspense, Roma Wines are bringing you Angela Lansbury in A Thing of Beauty. 246 00:13:38,080 --> 00:13:42,080 Roma Wines' presentation tonight in radio's outstanding theater of thrills... 247 00:13:42,080 --> 00:13:51,080 ...are Spence. 248 00:13:51,080 --> 00:13:56,080 Between the acts of suspense, this is Truman Bradley for Roma Wines. 249 00:13:56,080 --> 00:14:02,080 Whether you serve wine infrequently or often, enjoy the better taste of Roma Wines. 250 00:14:02,080 --> 00:14:06,080 Yes, Roma Wines give you more pleasure with every sip, 251 00:14:06,080 --> 00:14:13,080 a better three ways in fuller bouquet, richer body, and better taste. 252 00:14:13,080 --> 00:14:18,080 To bring you better tasting wine, Roma begins with California's choicest grapes. 253 00:14:18,080 --> 00:14:23,080 Then with ancient skill and wine-making resources unmatched in America, 254 00:14:23,080 --> 00:14:30,080 Roma master ventners guide this grape treasure unhurriedly to tempting taste perfection. 255 00:14:30,080 --> 00:14:34,080 These choice wines are then placed with mellow Roma wines of years before, 256 00:14:34,080 --> 00:14:39,080 and from these reserves, the world's greatest reserves of fine wines, 257 00:14:39,080 --> 00:14:43,080 Roma later selects for your pleasure. 258 00:14:43,080 --> 00:14:48,080 This holiday weekend, enjoy rich Roma California Port or Toque, 259 00:14:48,080 --> 00:14:55,080 serve after dinner or in a tall glass with ice and soda as a refreshing warm weather cooler. 260 00:14:55,080 --> 00:14:59,080 Served any way, Roma tastes better. 261 00:14:59,080 --> 00:15:06,080 That's why more Americans enjoy Roma than any other wine. 262 00:15:06,080 --> 00:15:12,080 That's R-O-M-A, Roma, your best buy in good taste. 263 00:15:12,080 --> 00:15:17,080 And now Roma Wines bring back to our Hollywood Soundstage Miss Angela Lansbury, 264 00:15:17,080 --> 00:15:22,080 who as Madeleine Tremaine resumes the recital of her brilliant and stormy career. 265 00:15:22,080 --> 00:15:25,080 It is a tale told to two clergymen in a darkened room, 266 00:15:25,080 --> 00:15:30,080 a tale well calculated to keep them and you in suspense. 267 00:15:42,080 --> 00:15:44,080 Shall I continue, gentlemen? 268 00:15:44,080 --> 00:15:49,080 Oh yes, please do, Miss Tremaine. It's most absorbing. Indeed it is. 269 00:15:49,080 --> 00:15:56,080 Really? I hope you don't mind the lights turned off. It's the storm. 270 00:15:56,080 --> 00:16:00,080 I suppose I am a sort of an elemental creature, 271 00:16:00,080 --> 00:16:05,080 but I always love to sit here and have it dark when it's stormy outside. 272 00:16:05,080 --> 00:16:06,080 Not at all. 273 00:16:06,080 --> 00:16:11,080 Well then, our marriage was a very happy one. 274 00:16:11,080 --> 00:16:16,080 Perhaps not entirely in the high tradition of grand passion, 275 00:16:16,080 --> 00:16:20,080 but a thoroughly comfortable civilized relationship, 276 00:16:20,080 --> 00:16:25,080 until something happened which is so often a tragic feature of wedding life 277 00:16:25,080 --> 00:16:29,080 between two stage personalities. 278 00:16:29,080 --> 00:16:35,080 You see, for the first two seasons, John and I always played together. 279 00:16:35,080 --> 00:16:40,080 And then managers began to ask for me alone. 280 00:16:40,080 --> 00:16:45,080 What could I do? I was young, just reaching the peak of my career. 281 00:16:45,080 --> 00:16:48,080 John was past his prime and popularity, 282 00:16:48,080 --> 00:16:52,080 and so at last he had no longer even tried to have a career, 283 00:16:52,080 --> 00:16:57,080 but lived along on false hopes and idle dreams and tiresome reminiscences 284 00:16:57,080 --> 00:17:02,080 and took up those little hobbies to pass the time away. 285 00:17:02,080 --> 00:17:06,080 Oh, a little stout. It was very difficult for both of us. 286 00:17:06,080 --> 00:17:18,080 And then for me came the time and opportunity that every actress dreams of. 287 00:17:18,080 --> 00:17:20,080 Ah, Mademoiselle! Hello, sister. 288 00:17:20,080 --> 00:17:23,080 I've got the most wonderful news, the most wonderful, wonderful news. 289 00:17:23,080 --> 00:17:24,080 That's you, Madeleine? 290 00:17:24,080 --> 00:17:25,080 I'll tell you all about it later. 291 00:17:25,080 --> 00:17:26,080 Oui, Mademoiselle. 292 00:17:26,080 --> 00:17:27,080 Yes, John? 293 00:17:27,080 --> 00:17:30,080 Come in here a moment. I want to show you something. 294 00:17:30,080 --> 00:17:31,080 Where are you? 295 00:17:31,080 --> 00:17:32,080 I'm in here in the den. 296 00:17:32,080 --> 00:17:34,080 Oh, good heavens. Now what? 297 00:17:34,080 --> 00:17:38,080 I thought I'd keep it a secret until I had my first exhibit, but I couldn't wait. 298 00:17:38,080 --> 00:17:40,080 I've taken up etching. 299 00:17:40,080 --> 00:17:41,080 Etching? 300 00:17:41,080 --> 00:17:42,080 Yes. Look, here. 301 00:17:42,080 --> 00:17:43,080 What's that? 302 00:17:43,080 --> 00:17:44,080 You. 303 00:17:44,080 --> 00:17:45,080 What? 304 00:17:45,080 --> 00:17:47,080 Well, it's only the copper plate, of course. 305 00:17:47,080 --> 00:17:49,080 You see, the whole principle of etching is... 306 00:17:49,080 --> 00:17:50,080 Mademoiselle, look out. 307 00:17:50,080 --> 00:17:51,080 What's the matter? 308 00:17:51,080 --> 00:17:54,080 You almost knocked over that vat of nitric acid, one drop of that, 309 00:17:54,080 --> 00:17:57,080 on your beautiful white skin and would burn a hole right through you. 310 00:17:57,080 --> 00:17:59,080 Well, if you must have that sort of thing around, I... 311 00:17:59,080 --> 00:18:01,080 Of course, that's the whole thing. 312 00:18:01,080 --> 00:18:04,080 You see, the sketch simply scrapes the wax off the copper plate. 313 00:18:04,080 --> 00:18:06,080 Then you drop it in the acid... 314 00:18:06,080 --> 00:18:08,080 Well, that's very interesting, darling, but... 315 00:18:08,080 --> 00:18:09,080 Oh, yes. 316 00:18:09,080 --> 00:18:13,080 Well, tell me, what happened in town? Anything? 317 00:18:13,080 --> 00:18:16,080 Anything? Everything! 318 00:18:16,080 --> 00:18:19,080 Plans, eh? Anyone ask for me? 319 00:18:19,080 --> 00:18:22,080 Oh, yes, everyone asked for you, John. I told them you were well. 320 00:18:22,080 --> 00:18:26,080 I mean, well, I thought there might be a couple of decent plays for a change. 321 00:18:26,080 --> 00:18:28,080 I might consider something. 322 00:18:28,080 --> 00:18:30,080 John, darling, how are you on Romeo? 323 00:18:30,080 --> 00:18:31,080 Romeo? 324 00:18:31,080 --> 00:18:34,080 Yes, you see, Maxwell has finally asked me to do a Shakespeare repertory. 325 00:18:34,080 --> 00:18:37,080 And high time, by the way. I'm starting in Romeo and Juliet and I need... 326 00:18:37,080 --> 00:18:40,080 Madeline, why didn't you tell me Romeo? 327 00:18:40,080 --> 00:18:44,080 We'll be a sensation. It's just the very thing I need to. 328 00:18:44,080 --> 00:18:46,080 Oh, I can do it all right. 329 00:18:46,080 --> 00:18:49,080 Take off a little weight, brush up in the lines. I've done it before, you know. 330 00:18:49,080 --> 00:18:50,080 Oh, Madeline. 331 00:18:50,080 --> 00:18:53,080 Oh, you're the dearest wife and the best friend a man ever had. 332 00:18:53,080 --> 00:18:58,080 You know, lately I've actually wondered sometimes if you might not think I wasn't. 333 00:18:58,080 --> 00:19:00,080 Oh, my darling. 334 00:19:00,080 --> 00:19:02,080 I know, John, but don't count too heavily on this. 335 00:19:02,080 --> 00:19:04,080 I'm not quite sure yet that things will work out. 336 00:19:04,080 --> 00:19:08,080 Work out? How else can they work out but perfectly? 337 00:19:08,080 --> 00:19:13,080 Very well. I'd like to begin reading here at home first. Tomorrow we... 338 00:19:13,080 --> 00:19:17,080 Now shall we take it again from, yet I should kill thee with much cherishing... 339 00:19:17,080 --> 00:19:18,080 Of course. 340 00:19:18,080 --> 00:19:23,080 No. Yet I should kill thee with too much cherishing. 341 00:19:23,080 --> 00:19:26,080 Good night, good night. 342 00:19:26,080 --> 00:19:30,080 Parting is such sweet sorrow 343 00:19:30,080 --> 00:19:34,080 that I shall say good night to thee. 344 00:19:34,080 --> 00:19:37,080 Good night, good night. 345 00:19:37,080 --> 00:19:40,080 Good night, good night. 346 00:19:40,080 --> 00:19:43,080 Parting is such sweet sorrow 347 00:19:43,080 --> 00:19:46,080 that I shall say good night till it be morrow. 348 00:19:46,080 --> 00:19:50,080 Sleep dwell upon thine eyes, peace in thy breast. 349 00:19:50,080 --> 00:19:53,080 Would I were sleep and peace, so sweet to rest. 350 00:19:53,080 --> 00:19:57,080 Yes, yes. But you see, on those last, you should really already be moving off the stage. 351 00:19:57,080 --> 00:19:59,080 You don't want to make too much of them, after all. 352 00:19:59,080 --> 00:20:01,080 The scene really ends when Juliet leaves the balcony. 353 00:20:01,080 --> 00:20:05,080 I know, but you can't just throw them away, Madeline dear. Those are very famous lines. 354 00:20:05,080 --> 00:20:09,080 Yes, but, John, we mustn't think so much in terms of lines as of performance. 355 00:20:09,080 --> 00:20:13,080 Yes, mademoiselle. Yes, sirsette. Mr. Alexander Duncan is here. 356 00:20:13,080 --> 00:20:15,080 Oh, yes, show him in. Oui, mademoiselle. 357 00:20:15,080 --> 00:20:17,080 Helen Duncan? What's that young ham coming around for? 358 00:20:17,080 --> 00:20:19,080 Well, John, I've been meaning to tell you... 359 00:20:19,080 --> 00:20:20,080 Hello, mademoiselle. 360 00:20:20,080 --> 00:20:22,080 Hello, Alec. You know my husband? 361 00:20:22,080 --> 00:20:24,080 Oh, why, yes, of course. How do you do, Mr. Tremaine? 362 00:20:24,080 --> 00:20:26,080 The name is Gaylord. 363 00:20:26,080 --> 00:20:30,080 Oh, yes. Of course, Mr. Gaylord. 364 00:20:30,080 --> 00:20:33,080 Will I say, aren't I the luckiest fellow in the world? 365 00:20:33,080 --> 00:20:34,080 Are you? 366 00:20:34,080 --> 00:20:35,080 John. 367 00:20:35,080 --> 00:20:37,080 To be playing Romeo opposite Madeline Tremaine. 368 00:20:37,080 --> 00:20:40,080 Oh, madame, when I got your cable, I could hardly believe it. 369 00:20:40,080 --> 00:20:43,080 I jumped on the boat without even packing a bag. 370 00:20:43,080 --> 00:20:45,080 Is something wrong? 371 00:20:45,080 --> 00:20:49,080 John, I've been trying to tell you, but I didn't want to hurt your feelings. 372 00:20:49,080 --> 00:20:50,080 If I've interrupted something... 373 00:20:50,080 --> 00:20:52,080 No, no, it's all right, Alec. 374 00:20:52,080 --> 00:20:55,080 John, please don't make a scene. I had to have someone to rehearse with me until Alec got here, 375 00:20:55,080 --> 00:20:58,080 and I knew you wouldn't be the slightest help to me if you... 376 00:20:58,080 --> 00:20:59,080 Oh, madame. 377 00:20:59,080 --> 00:21:01,080 John, why must you make an issue of it? 378 00:21:01,080 --> 00:21:04,080 I've always known you were a thoughtful, selfish woman, 379 00:21:04,080 --> 00:21:07,080 and I never would have believed that you could do anything quite so vile. 380 00:21:07,080 --> 00:21:09,080 How dare you speak to me that way. 381 00:21:09,080 --> 00:21:15,080 You didn't really think that a man with a 40-inch waistline and a double chin could ever play Romeo, did you? 382 00:21:15,080 --> 00:21:17,080 Madeline, I say... 383 00:21:17,080 --> 00:21:23,080 Get out of here. Get out. Get out! Get out! 384 00:21:23,080 --> 00:21:25,080 I say... 385 00:21:25,080 --> 00:21:36,080 Oh, I have to go and apologize, I suppose. 386 00:21:36,080 --> 00:21:39,080 John, I want to talk to you. 387 00:21:39,080 --> 00:21:40,080 John? 388 00:21:40,080 --> 00:21:42,080 Madeline, be careful of that acid. 389 00:21:42,080 --> 00:21:47,080 Acid? Oh, John, I'm terribly sorry for what I said. It was beastly of me, and I... 390 00:21:47,080 --> 00:21:48,080 Oh, it's quite all right, Madeline. 391 00:21:48,080 --> 00:21:51,080 Oh, John, I knew you'd see it that way when you came to see it. 392 00:21:51,080 --> 00:21:55,080 Yes, because you see, I am going to play Romeo. 393 00:21:55,080 --> 00:21:58,080 Oh, really, John, must we go through it all over again? 394 00:21:58,080 --> 00:22:02,080 Madeline, I've forgiven and forgotten a lot of things since we've been married. 395 00:22:02,080 --> 00:22:05,080 I've pushed you out in front. I've given you the spotlight. 396 00:22:05,080 --> 00:22:08,080 Watch your regard for me become somewhat less than for your servant, 397 00:22:08,080 --> 00:22:10,080 and somewhat more than for your dog. 398 00:22:10,080 --> 00:22:11,080 John, now look here... 399 00:22:11,080 --> 00:22:18,080 But this, if only for my self-respect, I will not allow to dangle before my eyes 400 00:22:18,080 --> 00:22:23,080 the thing that I wanted most in all the world, except your beauty that I gave it up for. 401 00:22:23,080 --> 00:22:27,080 The thing I've been wanting so much, I didn't dare admit it to myself. 402 00:22:27,080 --> 00:22:31,080 And then to have you snatch it from me, no, Madeline, no, no. 403 00:22:31,080 --> 00:22:36,080 Waist lines and double chins can be concealed, but a mean spirit never. 404 00:22:36,080 --> 00:22:39,080 This one thing you can do for me, and you will. 405 00:22:39,080 --> 00:22:40,080 John, really, you're being a... 406 00:22:40,080 --> 00:22:45,080 You see, I've always known that you married me to save your career and to keep my mouth shut. 407 00:22:45,080 --> 00:22:48,080 But there's one thing you haven't known. 408 00:22:48,080 --> 00:22:52,080 Where I was the night Nell Garrett was murdered. 409 00:22:52,080 --> 00:22:54,080 Where were you? 410 00:22:54,080 --> 00:22:56,080 I was at Nell Garrett's home. 411 00:22:56,080 --> 00:23:01,080 Well, that explains quite a number of things, doesn't it, John? 412 00:23:01,080 --> 00:23:05,080 Madeline, where did you get that gun? 413 00:23:05,080 --> 00:23:09,080 I always thought some day I might need one. 414 00:23:09,080 --> 00:23:11,080 Don't come near me, John. 415 00:23:11,080 --> 00:23:15,080 Say well, John, I warned you. 416 00:23:15,080 --> 00:23:18,080 No! You monster! 417 00:23:18,080 --> 00:23:22,080 You beautiful, terrible monster! 418 00:23:22,080 --> 00:23:25,080 No! No! No! 419 00:23:25,080 --> 00:23:31,080 You see, as he sank to the floor, he hurled a bowl of acid in my face. 420 00:23:31,080 --> 00:23:34,080 It was a frightful thing. 421 00:23:34,080 --> 00:23:37,080 Of course, it was self-defense. 422 00:23:37,080 --> 00:23:40,080 And I was never even brought to trial. 423 00:23:40,080 --> 00:23:44,080 Particularly when I told that it was he who killed poor Nell. 424 00:23:44,080 --> 00:23:47,080 And I was never even brought to trial. 425 00:23:47,080 --> 00:23:50,080 And I was never even brought to trial. 426 00:23:50,080 --> 00:23:56,080 Particularly when I told that it was he who killed poor Nell Garrett. 427 00:23:56,080 --> 00:23:59,080 But I suffered a complete nervous collapse. 428 00:23:59,080 --> 00:24:02,080 I suppose I never really recovered. 429 00:24:02,080 --> 00:24:07,080 And yet Providence always seems kind to leave something to be thankful for. 430 00:24:07,080 --> 00:24:10,080 Even in the worst of tragedies. 431 00:24:10,080 --> 00:24:15,080 Because, you know, not a single drop of acid ever touched me. 432 00:24:15,080 --> 00:24:20,080 I suppose if it had, I should be horribly disfigured to this day. 433 00:24:20,080 --> 00:24:26,080 Well, have I bored you, Mr. Zedley? 434 00:24:26,080 --> 00:24:28,080 Oh, no. Oh, no, Mrs. Tremaine. 435 00:24:28,080 --> 00:24:30,080 Goodness gracious. 436 00:24:30,080 --> 00:24:32,080 Well, Madeline, the storm is almost over. 437 00:24:32,080 --> 00:24:34,080 I think we'd best push on. 438 00:24:34,080 --> 00:24:39,080 Must you? Well, excuse me for just a moment. 439 00:24:39,080 --> 00:24:42,080 Oh, of course, Madeline. 440 00:24:42,080 --> 00:24:45,080 Oh, my word. The poor woman. 441 00:24:45,080 --> 00:24:46,080 Yes, yes. 442 00:24:46,080 --> 00:24:49,080 I say, look here. 443 00:24:49,080 --> 00:24:50,080 What is it? 444 00:24:50,080 --> 00:24:52,080 This mirror. 445 00:24:52,080 --> 00:24:54,080 It's not a mirror at all. 446 00:24:54,080 --> 00:24:56,080 It has a picture pasted in it. 447 00:24:56,080 --> 00:24:58,080 The photograph that's in the study. 448 00:24:58,080 --> 00:25:00,080 Oh, poor Madeline. 449 00:25:00,080 --> 00:25:05,080 Father Bentham, Mademoiselle would like to speak with you a moment before you go. 450 00:25:05,080 --> 00:25:07,080 Oh, yes, yes, of course. Very well. 451 00:25:07,080 --> 00:25:09,080 I'll only be a moment, Zedley. 452 00:25:09,080 --> 00:25:11,080 This way, Father. 453 00:25:11,080 --> 00:25:14,080 Thank you. 454 00:25:14,080 --> 00:25:15,080 Ah, Father. 455 00:25:15,080 --> 00:25:17,080 Well, Madeline. 456 00:25:17,080 --> 00:25:19,080 You may turn the lights on, Zed, as you go. 457 00:25:19,080 --> 00:25:23,080 Madeline. 458 00:25:23,080 --> 00:25:26,080 So that is your young curate, Father Bentham. 459 00:25:26,080 --> 00:25:27,080 Yes, do you like him? 460 00:25:27,080 --> 00:25:29,080 He seems like a dear boy, but... 461 00:25:29,080 --> 00:25:30,080 But what, Madeline? 462 00:25:30,080 --> 00:25:33,080 I'm afraid I can't see him again. 463 00:25:33,080 --> 00:25:35,080 Madeline, why? 464 00:25:35,080 --> 00:25:40,080 Well, I don't want to hurt his feelings, but it would not be the same. 465 00:25:40,080 --> 00:25:44,080 You have been my only true friend in all these years. 466 00:25:44,080 --> 00:25:47,080 And when you are gone, I would rather be alone again. 467 00:25:47,080 --> 00:25:49,080 I'm sorry, sir, but Mrs. Stotes is outside. 468 00:25:49,080 --> 00:25:50,080 Her little girl is dying. 469 00:25:50,080 --> 00:25:51,080 Go away. 470 00:25:51,080 --> 00:25:52,080 She heard you were here. She... 471 00:25:52,080 --> 00:25:53,080 Go away. 472 00:25:53,080 --> 00:25:54,080 Madeline. 473 00:25:54,080 --> 00:25:56,080 Go away. Go both of you. 474 00:25:56,080 --> 00:25:57,080 Come, sir. 475 00:25:57,080 --> 00:25:58,080 Go. 476 00:25:58,080 --> 00:26:00,080 Go away. 477 00:26:00,080 --> 00:26:02,080 Go away. 478 00:26:02,080 --> 00:26:03,080 Good Lord. 479 00:26:03,080 --> 00:26:05,080 Poor Madeline. 480 00:26:05,080 --> 00:26:06,080 It was too much for her. 481 00:26:06,080 --> 00:26:07,080 Yes. 482 00:26:07,080 --> 00:26:09,080 She killed them both, of course. 483 00:26:09,080 --> 00:26:11,080 The woman and her husband. 484 00:26:11,080 --> 00:26:14,080 Oh, I think I always must have known it. 485 00:26:14,080 --> 00:26:17,080 All these years she's lived a lie. 486 00:26:17,080 --> 00:26:20,080 Yes, but that's not the lie that's hurt her. 487 00:26:20,080 --> 00:26:22,080 It was the acid. 488 00:26:22,080 --> 00:26:23,080 Acid? 489 00:26:23,080 --> 00:26:26,080 Didn't you see her face, sir? 490 00:26:26,080 --> 00:26:29,080 You forget, my boy, that I am blind. 491 00:26:29,080 --> 00:26:53,080 She has no face. 492 00:26:53,080 --> 00:26:54,080 Suspense. 493 00:26:54,080 --> 00:26:56,080 Presented by Roma Wines. 494 00:26:56,080 --> 00:27:01,080 R-O-M-A, Roma, America's favorite wines. 495 00:27:01,080 --> 00:27:03,080 Before we hear again from Angela Lansbury, 496 00:27:03,080 --> 00:27:05,080 star of tonight's Suspense play, 497 00:27:05,080 --> 00:27:08,080 this is Truman Bradley reminding you that in Roma wine 498 00:27:08,080 --> 00:27:11,080 you enjoy an important difference, 499 00:27:11,080 --> 00:27:14,080 an extra dividend of pleasure in fuller bouquet, 500 00:27:14,080 --> 00:27:17,080 richer body, and better taste. 501 00:27:17,080 --> 00:27:21,080 Yes, Roma wines taste better because Roma selects 502 00:27:21,080 --> 00:27:24,080 better tasting wines from the world's greatest 503 00:27:24,080 --> 00:27:26,080 wine reserves. 504 00:27:26,080 --> 00:27:29,080 Discover for yourself why more Americans enjoy Roma 505 00:27:29,080 --> 00:27:32,080 than any other wine. 506 00:27:32,080 --> 00:27:35,080 This weekend, serve Roma California Burgundy 507 00:27:35,080 --> 00:27:37,080 or Saturn with dinner. 508 00:27:37,080 --> 00:27:40,080 You'll agree that Roma is a premium wine 509 00:27:40,080 --> 00:27:42,080 in everything but price. 510 00:27:42,080 --> 00:27:44,080 And now, Angela Lansbury. 511 00:27:44,080 --> 00:27:45,080 Hello. 512 00:27:45,080 --> 00:27:47,080 I've had many a thrill myself listening to Suspense, 513 00:27:47,080 --> 00:27:49,080 and I hope we were able to send a few chills 514 00:27:49,080 --> 00:27:51,080 up and down your spines tonight. 515 00:27:51,080 --> 00:27:54,080 I'm sure next week's program will when Roma wines 516 00:27:54,080 --> 00:27:57,080 bring you Hume Cronin in Make Mad the Guilty. 517 00:27:57,080 --> 00:27:59,080 It's a real thriller, so don't miss it. 518 00:27:59,080 --> 00:28:00,080 Good night. 519 00:28:00,080 --> 00:28:02,080 Angela Lansbury appeared through arrangement 520 00:28:02,080 --> 00:28:05,080 with Metro-Goldwyn-Mayer producers of High Barbary, 521 00:28:05,080 --> 00:28:07,080 starring Van Johnson and June Allison. 522 00:28:07,080 --> 00:28:10,080 Tonight's Suspense play was written by Robert Richards 523 00:28:10,080 --> 00:28:13,080 from an original story by Elizabeth Heaston Heisch. 524 00:28:13,080 --> 00:28:16,080 Next Thursday, same time, you will hear Mr. Hume Cronin 525 00:28:16,080 --> 00:28:19,080 as star of Suspense. 526 00:28:19,080 --> 00:28:22,080 Produced and directed by William Spear 527 00:28:22,080 --> 00:28:25,080 for the Roma Wine Company of Fresno, California. 528 00:28:33,080 --> 00:28:35,080 In the coming weeks, Suspense will present such stars 529 00:28:35,080 --> 00:28:38,080 as June Havoc, Vincent Price, Marsha Hunt, and others. 530 00:28:38,080 --> 00:28:41,080 Make it a point to listen each Thursday to Suspense, 531 00:28:41,080 --> 00:28:49,080 Radio's outstanding theater of thrills. 532 00:28:49,080 --> 00:28:53,080 A famous name presents a great experience in taste luxury. 533 00:28:53,080 --> 00:28:55,080 C-R-E-S-T-A 534 00:28:55,080 --> 00:28:59,080 V-L-A-N-C-A 535 00:28:59,080 --> 00:29:00,080 Cresta 536 00:29:00,080 --> 00:29:01,080 Blanca 537 00:29:01,080 --> 00:29:04,080 Cresta Blanca 538 00:29:04,080 --> 00:29:07,080 Yes, for the most discriminating, Cresta Blanca 539 00:29:07,080 --> 00:29:10,080 offers two rare California cherries. 540 00:29:10,080 --> 00:29:12,080 Dry Watch and Triple Cream. 541 00:29:12,080 --> 00:29:15,080 Compare Cresta Blanca Dry Watch and Triple Cream 542 00:29:15,080 --> 00:29:18,080 with the world's finest cherries, regardless of price. 543 00:29:18,080 --> 00:29:22,080 You'll find Cresta Blanca Dry Watch and Triple Cream 544 00:29:22,080 --> 00:29:25,080 unequaled in America, unsurpassed anywhere. 545 00:29:25,080 --> 00:29:29,080 Schenley's Cresta Blanca Wine Company, Livermore, California. 546 00:29:29,080 --> 00:29:33,080 Listen to Suspense next week, same time, same station. 547 00:29:33,080 --> 00:29:40,080 This is CBS, the Columbia Broadcasting System.