WEBVTT 00:00.000 --> 00:07.600 Yes, Roma wines taste better because only Roma selects from the world's greatest wine 00:07.600 --> 00:11.100 reserves for your pleasure. 00:11.100 --> 00:19.400 And now, Roma Wines, R-O-M-A, Roma Wines present Suspense. 00:19.400 --> 00:26.680 Tonight, Roma Wines bring you Miss Angela Lansbury in A Thing of Beauty, a suspense 00:26.680 --> 00:34.280 play produced, edited, and directed for Roma Wines by William Spear. 00:34.280 --> 00:41.200 Suspense, radio's outstanding theater of thrills, is presided for your enjoyment by Roma Wines. 00:41.200 --> 00:48.880 That's R-O-M-A, Roma Wines, those better tasting California wines enjoyed by more Americans 00:48.880 --> 00:53.680 than any other wine, for friendly entertaining, for delightful dining. 00:53.680 --> 00:58.640 Yes, right now a glass full would be very pleasant, as Roma Wines bring you Angela 00:58.640 --> 01:03.280 Lansbury in A Remarkable Tale of Suspense. 01:03.280 --> 01:12.680 Now, if you will give me your arm. 01:12.680 --> 01:13.680 Yes, sir. 01:13.680 --> 01:14.680 Oh, thank you. 01:14.680 --> 01:16.880 I think we should just miss the storm, if we hurry. 01:16.880 --> 01:18.680 A rather somber place, isn't it? 01:18.680 --> 01:23.080 It gives her seclusion, and that's all she's ever asked for since she came here. 01:23.080 --> 01:26.680 Just what little spiritual comfort I've been able to give her. 01:26.680 --> 01:28.680 How long ago was that, sir? 01:28.680 --> 01:29.680 That she came here, I mean? 01:29.680 --> 01:34.360 Oh, eight, let me see, oh no, no, no, nine, nine years ago in May. 01:34.360 --> 01:37.280 But it was long before that she left the stage. 01:37.280 --> 01:43.280 Oh, she was nearly ten years in an institution, a mental disorder, though it's not her mind 01:43.280 --> 01:45.080 was ever sick or I mistaken. 01:45.080 --> 01:48.080 They do say she's a bit on the eccentric side, though. 01:48.080 --> 01:53.480 You'll be her spiritual advisor yourself soon enough, when I've retired, and I want you 01:53.480 --> 01:54.480 to meet her without prejudice. 01:54.480 --> 01:59.840 And one day I'll tell you what I know, which goodness knows is little enough, and what 01:59.840 --> 02:03.080 I have reason to believe, which is somewhat more. 02:03.080 --> 02:09.440 Ah, it seems we'll just about escape a branch. 02:09.440 --> 02:10.680 She lives completely alone? 02:10.680 --> 02:13.080 Oh, the one servant, that's all. 02:13.080 --> 02:15.080 Oh, Father Bentham. 02:15.080 --> 02:16.080 Ah, Suzette. 02:16.080 --> 02:19.080 This is my new curate, the Reverend Mr. Sedley. 02:19.080 --> 02:21.080 We're here to see Miss Tremaine. 02:21.080 --> 02:24.080 Well, does she know you are not alone? 02:24.080 --> 02:26.080 My good Suzette, I haven't any idea. 02:26.080 --> 02:29.080 But you might let us in out of the rain while you so inform her. 02:29.080 --> 02:32.080 But if... very well, come in. 02:32.080 --> 02:34.080 Ah, thank you, thank you. 02:34.080 --> 02:38.080 If you will wait in the study, I will ask if Mademoiselle is able to see you. 02:38.080 --> 02:41.080 What in the world's gotten into the woman? 02:41.080 --> 02:46.080 She knows Miss Tremaine's been seeing me every fortnight at the same time for nine years. 02:46.080 --> 02:48.080 There's a picture here. 02:48.080 --> 02:49.080 Is it of her? 02:49.080 --> 02:50.080 Probably. 02:50.080 --> 02:52.080 My word, she was a beauty. 02:52.080 --> 02:54.080 Ah, your father could have told you. 02:54.080 --> 02:57.080 Ah, yes, she was a legend of two continents. 02:57.080 --> 03:02.080 It must have been a very tragic thing to make a woman like that shut herself away. 03:02.080 --> 03:05.080 Is it true, sir, that she sees no one but you? 03:05.080 --> 03:06.080 No one. 03:06.080 --> 03:10.080 As far as I know, she has never set foot outside this house in all the time she's been here. 03:10.080 --> 03:14.080 Nor has she ever had a single visitor beside myself. 03:14.080 --> 03:15.080 But why? 03:15.080 --> 03:19.080 Mademoiselle will see you now, Father, in her parlor across the hall. 03:19.080 --> 03:21.080 Oh, thank you, Susie. 03:26.080 --> 03:27.080 Father Benson. 03:27.080 --> 03:28.080 Ah, hello, hello. 03:28.080 --> 03:29.080 Come in, come in. 03:29.080 --> 03:30.080 Thank you. 03:30.080 --> 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. 03:36.080 --> 03:38.080 Oh, not at all, my dear. 03:38.080 --> 03:42.080 You'll find two quite comfortable chairs just there by the window, I think. 03:42.080 --> 03:44.080 Oh, thank you, thank you. 03:44.080 --> 03:47.080 Madeline, this is my new curate, Mr. Sedley. 03:47.080 --> 03:49.080 Oh, yes, Mr. Sedley. 03:49.080 --> 03:52.080 It's a great pleasure to meet the famous beauty, even in the dark. 03:52.080 --> 03:56.080 Yes, I suppose you've heard of my beauty, Mr. Sedley. 03:56.080 --> 04:02.080 You know, as you came in, I was looking at this little gold mirror, engraved on the back of the words, 04:02.080 --> 04:04.080 a thing of beauty is a joy forever. 04:04.080 --> 04:05.080 Ah, Keats. 04:05.080 --> 04:07.080 Yes, Oscar gave it to me. 04:07.080 --> 04:08.080 Oh? 04:08.080 --> 04:10.080 He said it was a magic mirror. 04:10.080 --> 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, 04:16.080 --> 04:18.080 young and radiant and a joy forever. 04:18.080 --> 04:24.080 And I've believed ever since that Oscar was really something of a magician, because you know it's true. 04:24.080 --> 04:28.080 Was that Oscar wild, Mr. Maine? 04:28.080 --> 04:33.080 Yes, dear Oscar, dear dead days. 04:33.080 --> 04:39.080 I suppose you've already heard of all the wild tales of my lurid past, Mr. Sedley? 04:39.080 --> 04:41.080 Oh, no, Miss Tremaine, I assure you I... 04:41.080 --> 04:46.080 I don't believe that Father Bentham has ever caught me in a very reminiscing mood, have you, Father? 04:46.080 --> 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. 04:52.080 --> 04:53.080 Miss Tremaine, don't think I... 04:53.080 --> 04:55.080 Oh, the truth is wild enough. 04:55.080 --> 05:03.080 It all began, I suppose, when John Gaylord gave me my first speaking part. 05:03.080 --> 05:07.080 That was, oh, too far ago to tell. 05:07.080 --> 05:09.080 My hair was a little darker. 05:09.080 --> 05:12.080 My voice was not quite as rich as it is now. 05:12.080 --> 05:15.080 Tifle more silvery, perhaps. 05:15.080 --> 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 05:23.080 --> 05:28.080 until some obscure little actress comes along and makes the start of a career with it. 05:32.080 --> 05:37.080 It was then that I first experienced what will always be to me in all the range of human feelings, 05:37.080 --> 05:45.080 the supreme exaltation when you hear the full frenzied applause of an audience, for you, for you alone. 05:45.080 --> 05:53.080 Thank you, thank you. 06:01.080 --> 06:02.080 Yes? 06:02.080 --> 06:03.080 Madeline, may I see you? 06:03.080 --> 06:05.080 Oh, come in, John. 06:05.080 --> 06:08.080 Madeline, you are marvelous, simply marvelous. 06:08.080 --> 06:09.080 Thank you, John. 06:09.080 --> 06:10.080 Such a little fool. 06:10.080 --> 06:11.080 A fool? 06:11.080 --> 06:15.080 I've told you to play the part down, but it's getting worse and worse tonight. She's absolutely furious. 06:15.080 --> 06:17.080 She's going to make trouble for you, Madeline. 06:17.080 --> 06:19.080 Trouble? What kind of trouble? 06:19.080 --> 06:21.080 Oh, you don't know Nellie Garrett. 06:21.080 --> 06:23.080 But I know my audience, don't I? 06:23.080 --> 06:26.080 Madeline, you're so young and foolish and so beautiful. 06:26.080 --> 06:27.080 Why, thank you, John. 06:27.080 --> 06:29.080 So terribly beautiful. 06:29.080 --> 06:31.080 Oh, John, you're leading up to it again, aren't you? 06:31.080 --> 06:36.080 Madeline, this play isn't going to last forever. Even you can't keep it alive much longer. 06:36.080 --> 06:40.080 Mighty, why don't we make plans together now? We could have our own company. 06:40.080 --> 06:42.080 As the great John Gaylord and Mrs. Gaylord? 06:42.080 --> 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. 06:47.080 --> 06:52.080 Perhaps I don't want to wait a couple of years. Besides, John, I don't love you. 06:52.080 --> 06:55.080 Oh, well, do you love anyone? 06:55.080 --> 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. 07:01.080 --> 07:03.080 Some of you must know where she is. I want to see her. 07:03.080 --> 07:05.080 Oh, you're in for it now, Madeline. 07:05.080 --> 07:07.080 Right away. No. So there you are, my fine. 07:07.080 --> 07:09.080 Oh, go easy, Miss Garrett. She's meant no harm. 07:09.080 --> 07:15.080 No harm, indeed. She has merely ruined my entire last act curtain for 29 consecutive performances, 07:15.080 --> 07:20.080 hoisting her skirts clear above the ankle, opening the stalls like a music hall wretched... 07:20.080 --> 07:21.080 Well, don't it becauses that kind of a fud... 07:21.080 --> 07:24.080 Oh, is it, indeed? Well, as long as I play the lead in this company, 07:24.080 --> 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? 07:31.080 --> 07:33.080 Oh, Nell, please, you're making a fool of yourself. 07:33.080 --> 07:37.080 And while we're on the subject, Mr. Gaylord, there are a few points I should like to discuss with you. 07:37.080 --> 07:40.080 When you help Miss Tremaine down from the swing in the second act, 07:40.080 --> 07:44.080 there's no need for you to keep your arm around her during the entire remainder of the scene. 07:44.080 --> 07:48.080 I'll admit that she appears ready to swoon at any moment, 07:48.080 --> 07:51.080 but one peep show performance is quite enough for an evening in Drury Lane. 07:51.080 --> 07:57.080 Well, really, Miss Garrett, if you can no longer hold either your audiences or your lovers... 07:57.080 --> 07:59.080 You cheap... Nell! 07:59.080 --> 08:07.080 I'll kill you for that, Nell Garrett. If I die for it, I'll kill you. 08:12.080 --> 08:19.080 I left the theatre and walked aimlessly out into the night, my eyes blinded with tears. 08:19.080 --> 08:25.080 Young, yes. Foolish as I was, I believe my poor little heart was truly broken. 08:25.080 --> 08:32.080 For I knew that Nell Garrett could ruin me with every theatre manager in London, and I knew she would. 08:32.080 --> 08:39.080 How long I wandered through those misty streets, or where, or even what I did, I shall never know. 08:39.080 --> 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. 08:48.080 --> 08:54.080 On a sudden impulse, I climbed the steps to his door. 08:57.080 --> 08:59.080 Yes? Madeline! 08:59.080 --> 09:00.080 Hello, John. 09:00.080 --> 09:02.080 My darling, did anyone see you? 09:02.080 --> 09:03.080 See me? 09:03.080 --> 09:05.080 Come in, come in. Where have you been? 09:05.080 --> 09:07.080 Just walking, walking. 09:07.080 --> 09:08.080 Good Lord. Alone? 09:08.080 --> 09:09.080 Yes, why? 09:09.080 --> 09:11.080 Don't you know? 09:11.080 --> 09:13.080 Yes, John, I'm afraid I do. My career... 09:13.080 --> 09:16.080 Your career? Oh, my poor child. 09:16.080 --> 09:17.080 John, what is it? 09:17.080 --> 09:21.080 Don't you know that Nell Garrett's been found dead with a knife in her back? 09:21.080 --> 09:22.080 Dead? 09:22.080 --> 09:23.080 Murdered. 09:23.080 --> 09:24.080 Oh, John! 09:24.080 --> 09:28.080 The police have been looking all over London for you. I've been expecting them here every moment. 09:28.080 --> 09:29.080 For me? 09:29.080 --> 09:31.080 Of course for you. 09:31.080 --> 09:32.080 But why? 09:32.080 --> 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? 09:37.080 --> 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? 09:43.080 --> 09:44.080 No, Lord. 09:44.080 --> 09:46.080 But you've got to tell them something. 09:46.080 --> 09:48.080 What can I tell them something? 09:48.080 --> 09:49.080 Because if you don't, they'll... 09:49.080 --> 09:50.080 John! 09:50.080 --> 09:51.080 Yes, yes, they'll hang you, Madeline. 09:51.080 --> 09:52.080 Oh, no. 09:52.080 --> 09:55.080 Please, Madeline, you've got to think, try to remember something. 09:55.080 --> 09:58.080 I'm so alone, if only I had a friend. 09:58.080 --> 10:01.080 You have got a friend, Madeline. I'm your friend, believe me. 10:01.080 --> 10:04.080 Someone who loved me enough to at least say they were with me. 10:04.080 --> 10:05.080 Just a moment. 10:05.080 --> 10:06.080 Oh. 10:06.080 --> 10:09.080 Shh. Who is it? 10:09.080 --> 10:11.080 Inspector Kellis, Scotland Yard. 10:11.080 --> 10:12.080 Madeline, in there, quickly, in the bedroom. 10:12.080 --> 10:13.080 John! 10:13.080 --> 10:16.080 Don't worry, I'll tell them something, hurry. 10:16.080 --> 10:22.080 I'm coming. 10:22.080 --> 10:24.080 I'm sorry to rouse you at this early hour, sir. 10:24.080 --> 10:27.080 Quite all right, sir, come in. 10:27.080 --> 10:29.080 You are Mr. John Gaylord? 10:29.080 --> 10:30.080 Yes. 10:30.080 --> 10:32.080 Of the Queen's Players Company, Drury Lane? 10:32.080 --> 10:33.080 Yes. 10:33.080 --> 10:38.080 Can you tell me, Mr. Gaylord, anything of the whereabouts of Miss Madeline Tremaine? 10:38.080 --> 10:39.080 Madeline Tremaine? 10:39.080 --> 10:40.080 Yes. 10:40.080 --> 10:41.080 Why, I... 10:41.080 --> 10:43.080 Call me, darling. 10:43.080 --> 10:45.080 Oh, excuse me. 10:45.080 --> 10:47.080 Who is this lady, Mr. Gaylord? 10:47.080 --> 10:49.080 Well, who are you? 10:49.080 --> 10:51.080 I'm from the police, madam. 10:51.080 --> 10:52.080 Police? 10:52.080 --> 10:53.080 There's been a murder. 10:53.080 --> 10:58.080 Miss Nell Garrett of the Queen's Company was found stabbed in her home last night. 10:58.080 --> 10:59.080 Nell Garrett? 10:59.080 --> 11:01.080 Yes. You know her? 11:01.080 --> 11:03.080 Why, of course this is my... 11:03.080 --> 11:07.080 I'm afraid, madam, that I shall have to ask you for your name. 11:07.080 --> 11:12.080 Madeline Tremaine. I'm so sorry that you find me somewhat in disarray. 11:12.080 --> 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. 11:19.080 --> 11:23.080 Very well. Mr. Gaylord can account for my whereabouts. 11:23.080 --> 11:26.080 Well, Mr. Gaylord, I... 11:26.080 --> 11:36.080 You see, Inspector, it's rather a delicate matter, because since I left the theatre last night, I've been here. 11:36.080 --> 11:38.080 Is that true, Mr. Gaylord? 11:38.080 --> 11:42.080 Yes, quite true, Inspector. 11:42.080 --> 11:44.080 Ah, I see. 11:44.080 --> 11:47.080 Is that satisfactory, Inspector? 11:47.080 --> 11:53.080 Yes, yes. Well, I don't think I need trouble you any further for the moment. 11:53.080 --> 11:58.080 I quite understand your position, Inspector. It's a terrible, terrible thing. 11:58.080 --> 12:01.080 Yes. Well, good day to you. 12:01.080 --> 12:04.080 Good day, sir. 12:04.080 --> 12:06.080 Oh, Madeline. 12:06.080 --> 12:07.080 Yes, John? 12:07.080 --> 12:11.080 Madeline, you shouldn't have done it. Why, they'll have the scandal all over every newspaper in the city. 12:11.080 --> 12:13.080 Well, a scandal is better than a hanging, isn't it? 12:13.080 --> 12:17.080 Oh, but there must have been some other way. Now they'll tear you to shreds. 12:17.080 --> 12:20.080 They won't have you in anything better than a music hall for the rest of your life. 12:20.080 --> 12:23.080 John, there won't be any scandal if... 12:23.080 --> 12:25.080 If what? 12:25.080 --> 12:31.080 John, it wasn't just my tiff with Nell Garrett that sent me wandering through the fog last night. 12:31.080 --> 12:34.080 I was thinking about something much more serious. 12:34.080 --> 12:35.080 What do you mean? 12:35.080 --> 12:38.080 I was thinking about what you said. 12:38.080 --> 12:40.080 What I had said? 12:40.080 --> 12:46.080 John, perhaps I don't really love you yet, but there's no one else. 12:46.080 --> 12:50.080 And you're the finest, kindest man I've ever known. 12:50.080 --> 12:51.080 Madeline. 12:51.080 --> 12:53.080 And now perhaps you've saved my life. 12:53.080 --> 12:58.080 Oh, Madeline, I... I love you more than anything else in this world. 12:58.080 --> 13:01.080 But I wouldn't have you marry me for gratitude. 13:01.080 --> 13:04.080 I wouldn't marry any man for gratitude. 13:04.080 --> 13:10.080 Madeline, if... if I were to tell you that I wasn't here last night either, 13:10.080 --> 13:13.080 that I couldn't explain my whereabouts... 13:13.080 --> 13:15.080 Oh, I see. 13:15.080 --> 13:18.080 Would you still marry me? 13:18.080 --> 13:33.080 Yes, John, I will marry you. 13:33.080 --> 13:38.080 For suspense, Roma Wines are bringing you Angela Lansbury in A Thing of Beauty. 13:38.080 --> 13:42.080 Roma Wines' presentation tonight in radio's outstanding theater of thrills... 13:42.080 --> 13:51.080 ...are Spence. 13:51.080 --> 13:56.080 Between the acts of suspense, this is Truman Bradley for Roma Wines. 13:56.080 --> 14:02.080 Whether you serve wine infrequently or often, enjoy the better taste of Roma Wines. 14:02.080 --> 14:06.080 Yes, Roma Wines give you more pleasure with every sip, 14:06.080 --> 14:13.080 a better three ways in fuller bouquet, richer body, and better taste. 14:13.080 --> 14:18.080 To bring you better tasting wine, Roma begins with California's choicest grapes. 14:18.080 --> 14:23.080 Then with ancient skill and wine-making resources unmatched in America, 14:23.080 --> 14:30.080 Roma master ventners guide this grape treasure unhurriedly to tempting taste perfection. 14:30.080 --> 14:34.080 These choice wines are then placed with mellow Roma wines of years before, 14:34.080 --> 14:39.080 and from these reserves, the world's greatest reserves of fine wines, 14:39.080 --> 14:43.080 Roma later selects for your pleasure. 14:43.080 --> 14:48.080 This holiday weekend, enjoy rich Roma California Port or Toque, 14:48.080 --> 14:55.080 serve after dinner or in a tall glass with ice and soda as a refreshing warm weather cooler. 14:55.080 --> 14:59.080 Served any way, Roma tastes better. 14:59.080 --> 15:06.080 That's why more Americans enjoy Roma than any other wine. 15:06.080 --> 15:12.080 That's R-O-M-A, Roma, your best buy in good taste. 15:12.080 --> 15:17.080 And now Roma Wines bring back to our Hollywood Soundstage Miss Angela Lansbury, 15:17.080 --> 15:22.080 who as Madeleine Tremaine resumes the recital of her brilliant and stormy career. 15:22.080 --> 15:25.080 It is a tale told to two clergymen in a darkened room, 15:25.080 --> 15:30.080 a tale well calculated to keep them and you in suspense. 15:42.080 --> 15:44.080 Shall I continue, gentlemen? 15:44.080 --> 15:49.080 Oh yes, please do, Miss Tremaine. It's most absorbing. Indeed it is. 15:49.080 --> 15:56.080 Really? I hope you don't mind the lights turned off. It's the storm. 15:56.080 --> 16:00.080 I suppose I am a sort of an elemental creature, 16:00.080 --> 16:05.080 but I always love to sit here and have it dark when it's stormy outside. 16:05.080 --> 16:06.080 Not at all. 16:06.080 --> 16:11.080 Well then, our marriage was a very happy one. 16:11.080 --> 16:16.080 Perhaps not entirely in the high tradition of grand passion, 16:16.080 --> 16:20.080 but a thoroughly comfortable civilized relationship, 16:20.080 --> 16:25.080 until something happened which is so often a tragic feature of wedding life 16:25.080 --> 16:29.080 between two stage personalities. 16:29.080 --> 16:35.080 You see, for the first two seasons, John and I always played together. 16:35.080 --> 16:40.080 And then managers began to ask for me alone. 16:40.080 --> 16:45.080 What could I do? I was young, just reaching the peak of my career. 16:45.080 --> 16:48.080 John was past his prime and popularity, 16:48.080 --> 16:52.080 and so at last he had no longer even tried to have a career, 16:52.080 --> 16:57.080 but lived along on false hopes and idle dreams and tiresome reminiscences 16:57.080 --> 17:02.080 and took up those little hobbies to pass the time away. 17:02.080 --> 17:06.080 Oh, a little stout. It was very difficult for both of us. 17:06.080 --> 17:18.080 And then for me came the time and opportunity that every actress dreams of. 17:18.080 --> 17:20.080 Ah, Mademoiselle! Hello, sister. 17:20.080 --> 17:23.080 I've got the most wonderful news, the most wonderful, wonderful news. 17:23.080 --> 17:24.080 That's you, Madeleine? 17:24.080 --> 17:25.080 I'll tell you all about it later. 17:25.080 --> 17:26.080 Oui, Mademoiselle. 17:26.080 --> 17:27.080 Yes, John? 17:27.080 --> 17:30.080 Come in here a moment. I want to show you something. 17:30.080 --> 17:31.080 Where are you? 17:31.080 --> 17:32.080 I'm in here in the den. 17:32.080 --> 17:34.080 Oh, good heavens. Now what? 17:34.080 --> 17:38.080 I thought I'd keep it a secret until I had my first exhibit, but I couldn't wait. 17:38.080 --> 17:40.080 I've taken up etching. 17:40.080 --> 17:41.080 Etching? 17:41.080 --> 17:42.080 Yes. Look, here. 17:42.080 --> 17:43.080 What's that? 17:43.080 --> 17:44.080 You. 17:44.080 --> 17:45.080 What? 17:45.080 --> 17:47.080 Well, it's only the copper plate, of course. 17:47.080 --> 17:49.080 You see, the whole principle of etching is... 17:49.080 --> 17:50.080 Mademoiselle, look out. 17:50.080 --> 17:51.080 What's the matter? 17:51.080 --> 17:54.080 You almost knocked over that vat of nitric acid, one drop of that, 17:54.080 --> 17:57.080 on your beautiful white skin and would burn a hole right through you. 17:57.080 --> 17:59.080 Well, if you must have that sort of thing around, I... 17:59.080 --> 18:01.080 Of course, that's the whole thing. 18:01.080 --> 18:04.080 You see, the sketch simply scrapes the wax off the copper plate. 18:04.080 --> 18:06.080 Then you drop it in the acid... 18:06.080 --> 18:08.080 Well, that's very interesting, darling, but... 18:08.080 --> 18:09.080 Oh, yes. 18:09.080 --> 18:13.080 Well, tell me, what happened in town? Anything? 18:13.080 --> 18:16.080 Anything? Everything! 18:16.080 --> 18:19.080 Plans, eh? Anyone ask for me? 18:19.080 --> 18:22.080 Oh, yes, everyone asked for you, John. I told them you were well. 18:22.080 --> 18:26.080 I mean, well, I thought there might be a couple of decent plays for a change. 18:26.080 --> 18:28.080 I might consider something. 18:28.080 --> 18:30.080 John, darling, how are you on Romeo? 18:30.080 --> 18:31.080 Romeo? 18:31.080 --> 18:34.080 Yes, you see, Maxwell has finally asked me to do a Shakespeare repertory. 18:34.080 --> 18:37.080 And high time, by the way. I'm starting in Romeo and Juliet and I need... 18:37.080 --> 18:40.080 Madeline, why didn't you tell me Romeo? 18:40.080 --> 18:44.080 We'll be a sensation. It's just the very thing I need to. 18:44.080 --> 18:46.080 Oh, I can do it all right. 18:46.080 --> 18:49.080 Take off a little weight, brush up in the lines. I've done it before, you know. 18:49.080 --> 18:50.080 Oh, Madeline. 18:50.080 --> 18:53.080 Oh, you're the dearest wife and the best friend a man ever had. 18:53.080 --> 18:58.080 You know, lately I've actually wondered sometimes if you might not think I wasn't. 18:58.080 --> 19:00.080 Oh, my darling. 19:00.080 --> 19:02.080 I know, John, but don't count too heavily on this. 19:02.080 --> 19:04.080 I'm not quite sure yet that things will work out. 19:04.080 --> 19:08.080 Work out? How else can they work out but perfectly? 19:08.080 --> 19:13.080 Very well. I'd like to begin reading here at home first. Tomorrow we... 19:13.080 --> 19:17.080 Now shall we take it again from, yet I should kill thee with much cherishing... 19:17.080 --> 19:18.080 Of course. 19:18.080 --> 19:23.080 No. Yet I should kill thee with too much cherishing. 19:23.080 --> 19:26.080 Good night, good night. 19:26.080 --> 19:30.080 Parting is such sweet sorrow 19:30.080 --> 19:34.080 that I shall say good night to thee. 19:34.080 --> 19:37.080 Good night, good night. 19:37.080 --> 19:40.080 Good night, good night. 19:40.080 --> 19:43.080 Parting is such sweet sorrow 19:43.080 --> 19:46.080 that I shall say good night till it be morrow. 19:46.080 --> 19:50.080 Sleep dwell upon thine eyes, peace in thy breast. 19:50.080 --> 19:53.080 Would I were sleep and peace, so sweet to rest. 19:53.080 --> 19:57.080 Yes, yes. But you see, on those last, you should really already be moving off the stage. 19:57.080 --> 19:59.080 You don't want to make too much of them, after all. 19:59.080 --> 20:01.080 The scene really ends when Juliet leaves the balcony. 20:01.080 --> 20:05.080 I know, but you can't just throw them away, Madeline dear. Those are very famous lines. 20:05.080 --> 20:09.080 Yes, but, John, we mustn't think so much in terms of lines as of performance. 20:09.080 --> 20:13.080 Yes, mademoiselle. Yes, sirsette. Mr. Alexander Duncan is here. 20:13.080 --> 20:15.080 Oh, yes, show him in. Oui, mademoiselle. 20:15.080 --> 20:17.080 Helen Duncan? What's that young ham coming around for? 20:17.080 --> 20:19.080 Well, John, I've been meaning to tell you... 20:19.080 --> 20:20.080 Hello, mademoiselle. 20:20.080 --> 20:22.080 Hello, Alec. You know my husband? 20:22.080 --> 20:24.080 Oh, why, yes, of course. How do you do, Mr. Tremaine? 20:24.080 --> 20:26.080 The name is Gaylord. 20:26.080 --> 20:30.080 Oh, yes. Of course, Mr. Gaylord. 20:30.080 --> 20:33.080 Will I say, aren't I the luckiest fellow in the world? 20:33.080 --> 20:34.080 Are you? 20:34.080 --> 20:35.080 John. 20:35.080 --> 20:37.080 To be playing Romeo opposite Madeline Tremaine. 20:37.080 --> 20:40.080 Oh, madame, when I got your cable, I could hardly believe it. 20:40.080 --> 20:43.080 I jumped on the boat without even packing a bag. 20:43.080 --> 20:45.080 Is something wrong? 20:45.080 --> 20:49.080 John, I've been trying to tell you, but I didn't want to hurt your feelings. 20:49.080 --> 20:50.080 If I've interrupted something... 20:50.080 --> 20:52.080 No, no, it's all right, Alec. 20:52.080 --> 20:55.080 John, please don't make a scene. I had to have someone to rehearse with me until Alec got here, 20:55.080 --> 20:58.080 and I knew you wouldn't be the slightest help to me if you... 20:58.080 --> 20:59.080 Oh, madame. 20:59.080 --> 21:01.080 John, why must you make an issue of it? 21:01.080 --> 21:04.080 I've always known you were a thoughtful, selfish woman, 21:04.080 --> 21:07.080 and I never would have believed that you could do anything quite so vile. 21:07.080 --> 21:09.080 How dare you speak to me that way. 21:09.080 --> 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? 21:15.080 --> 21:17.080 Madeline, I say... 21:17.080 --> 21:23.080 Get out of here. Get out. Get out! Get out! 21:23.080 --> 21:25.080 I say... 21:25.080 --> 21:36.080 Oh, I have to go and apologize, I suppose. 21:36.080 --> 21:39.080 John, I want to talk to you. 21:39.080 --> 21:40.080 John? 21:40.080 --> 21:42.080 Madeline, be careful of that acid. 21:42.080 --> 21:47.080 Acid? Oh, John, I'm terribly sorry for what I said. It was beastly of me, and I... 21:47.080 --> 21:48.080 Oh, it's quite all right, Madeline. 21:48.080 --> 21:51.080 Oh, John, I knew you'd see it that way when you came to see it. 21:51.080 --> 21:55.080 Yes, because you see, I am going to play Romeo. 21:55.080 --> 21:58.080 Oh, really, John, must we go through it all over again? 21:58.080 --> 22:02.080 Madeline, I've forgiven and forgotten a lot of things since we've been married. 22:02.080 --> 22:05.080 I've pushed you out in front. I've given you the spotlight. 22:05.080 --> 22:08.080 Watch your regard for me become somewhat less than for your servant, 22:08.080 --> 22:10.080 and somewhat more than for your dog. 22:10.080 --> 22:11.080 John, now look here... 22:11.080 --> 22:18.080 But this, if only for my self-respect, I will not allow to dangle before my eyes 22:18.080 --> 22:23.080 the thing that I wanted most in all the world, except your beauty that I gave it up for. 22:23.080 --> 22:27.080 The thing I've been wanting so much, I didn't dare admit it to myself. 22:27.080 --> 22:31.080 And then to have you snatch it from me, no, Madeline, no, no. 22:31.080 --> 22:36.080 Waist lines and double chins can be concealed, but a mean spirit never. 22:36.080 --> 22:39.080 This one thing you can do for me, and you will. 22:39.080 --> 22:40.080 John, really, you're being a... 22:40.080 --> 22:45.080 You see, I've always known that you married me to save your career and to keep my mouth shut. 22:45.080 --> 22:48.080 But there's one thing you haven't known. 22:48.080 --> 22:52.080 Where I was the night Nell Garrett was murdered. 22:52.080 --> 22:54.080 Where were you? 22:54.080 --> 22:56.080 I was at Nell Garrett's home. 22:56.080 --> 23:01.080 Well, that explains quite a number of things, doesn't it, John? 23:01.080 --> 23:05.080 Madeline, where did you get that gun? 23:05.080 --> 23:09.080 I always thought some day I might need one. 23:09.080 --> 23:11.080 Don't come near me, John. 23:11.080 --> 23:15.080 Say well, John, I warned you. 23:15.080 --> 23:18.080 No! You monster! 23:18.080 --> 23:22.080 You beautiful, terrible monster! 23:22.080 --> 23:25.080 No! No! No! 23:25.080 --> 23:31.080 You see, as he sank to the floor, he hurled a bowl of acid in my face. 23:31.080 --> 23:34.080 It was a frightful thing. 23:34.080 --> 23:37.080 Of course, it was self-defense. 23:37.080 --> 23:40.080 And I was never even brought to trial. 23:40.080 --> 23:44.080 Particularly when I told that it was he who killed poor Nell. 23:44.080 --> 23:47.080 And I was never even brought to trial. 23:47.080 --> 23:50.080 And I was never even brought to trial. 23:50.080 --> 23:56.080 Particularly when I told that it was he who killed poor Nell Garrett. 23:56.080 --> 23:59.080 But I suffered a complete nervous collapse. 23:59.080 --> 24:02.080 I suppose I never really recovered. 24:02.080 --> 24:07.080 And yet Providence always seems kind to leave something to be thankful for. 24:07.080 --> 24:10.080 Even in the worst of tragedies. 24:10.080 --> 24:15.080 Because, you know, not a single drop of acid ever touched me. 24:15.080 --> 24:20.080 I suppose if it had, I should be horribly disfigured to this day. 24:20.080 --> 24:26.080 Well, have I bored you, Mr. Zedley? 24:26.080 --> 24:28.080 Oh, no. Oh, no, Mrs. Tremaine. 24:28.080 --> 24:30.080 Goodness gracious. 24:30.080 --> 24:32.080 Well, Madeline, the storm is almost over. 24:32.080 --> 24:34.080 I think we'd best push on. 24:34.080 --> 24:39.080 Must you? Well, excuse me for just a moment. 24:39.080 --> 24:42.080 Oh, of course, Madeline. 24:42.080 --> 24:45.080 Oh, my word. The poor woman. 24:45.080 --> 24:46.080 Yes, yes. 24:46.080 --> 24:49.080 I say, look here. 24:49.080 --> 24:50.080 What is it? 24:50.080 --> 24:52.080 This mirror. 24:52.080 --> 24:54.080 It's not a mirror at all. 24:54.080 --> 24:56.080 It has a picture pasted in it. 24:56.080 --> 24:58.080 The photograph that's in the study. 24:58.080 --> 25:00.080 Oh, poor Madeline. 25:00.080 --> 25:05.080 Father Bentham, Mademoiselle would like to speak with you a moment before you go. 25:05.080 --> 25:07.080 Oh, yes, yes, of course. Very well. 25:07.080 --> 25:09.080 I'll only be a moment, Zedley. 25:09.080 --> 25:11.080 This way, Father. 25:11.080 --> 25:14.080 Thank you. 25:14.080 --> 25:15.080 Ah, Father. 25:15.080 --> 25:17.080 Well, Madeline. 25:17.080 --> 25:19.080 You may turn the lights on, Zed, as you go. 25:19.080 --> 25:23.080 Madeline. 25:23.080 --> 25:26.080 So that is your young curate, Father Bentham. 25:26.080 --> 25:27.080 Yes, do you like him? 25:27.080 --> 25:29.080 He seems like a dear boy, but... 25:29.080 --> 25:30.080 But what, Madeline? 25:30.080 --> 25:33.080 I'm afraid I can't see him again. 25:33.080 --> 25:35.080 Madeline, why? 25:35.080 --> 25:40.080 Well, I don't want to hurt his feelings, but it would not be the same. 25:40.080 --> 25:44.080 You have been my only true friend in all these years. 25:44.080 --> 25:47.080 And when you are gone, I would rather be alone again. 25:47.080 --> 25:49.080 I'm sorry, sir, but Mrs. Stotes is outside. 25:49.080 --> 25:50.080 Her little girl is dying. 25:50.080 --> 25:51.080 Go away. 25:51.080 --> 25:52.080 She heard you were here. She... 25:52.080 --> 25:53.080 Go away. 25:53.080 --> 25:54.080 Madeline. 25:54.080 --> 25:56.080 Go away. Go both of you. 25:56.080 --> 25:57.080 Come, sir. 25:57.080 --> 25:58.080 Go. 25:58.080 --> 26:00.080 Go away. 26:00.080 --> 26:02.080 Go away. 26:02.080 --> 26:03.080 Good Lord. 26:03.080 --> 26:05.080 Poor Madeline. 26:05.080 --> 26:06.080 It was too much for her. 26:06.080 --> 26:07.080 Yes. 26:07.080 --> 26:09.080 She killed them both, of course. 26:09.080 --> 26:11.080 The woman and her husband. 26:11.080 --> 26:14.080 Oh, I think I always must have known it. 26:14.080 --> 26:17.080 All these years she's lived a lie. 26:17.080 --> 26:20.080 Yes, but that's not the lie that's hurt her. 26:20.080 --> 26:22.080 It was the acid. 26:22.080 --> 26:23.080 Acid? 26:23.080 --> 26:26.080 Didn't you see her face, sir? 26:26.080 --> 26:29.080 You forget, my boy, that I am blind. 26:29.080 --> 26:53.080 She has no face. 26:53.080 --> 26:54.080 Suspense. 26:54.080 --> 26:56.080 Presented by Roma Wines. 26:56.080 --> 27:01.080 R-O-M-A, Roma, America's favorite wines. 27:01.080 --> 27:03.080 Before we hear again from Angela Lansbury, 27:03.080 --> 27:05.080 star of tonight's Suspense play, 27:05.080 --> 27:08.080 this is Truman Bradley reminding you that in Roma wine 27:08.080 --> 27:11.080 you enjoy an important difference, 27:11.080 --> 27:14.080 an extra dividend of pleasure in fuller bouquet, 27:14.080 --> 27:17.080 richer body, and better taste. 27:17.080 --> 27:21.080 Yes, Roma wines taste better because Roma selects 27:21.080 --> 27:24.080 better tasting wines from the world's greatest 27:24.080 --> 27:26.080 wine reserves. 27:26.080 --> 27:29.080 Discover for yourself why more Americans enjoy Roma 27:29.080 --> 27:32.080 than any other wine. 27:32.080 --> 27:35.080 This weekend, serve Roma California Burgundy 27:35.080 --> 27:37.080 or Saturn with dinner. 27:37.080 --> 27:40.080 You'll agree that Roma is a premium wine 27:40.080 --> 27:42.080 in everything but price. 27:42.080 --> 27:44.080 And now, Angela Lansbury. 27:44.080 --> 27:45.080 Hello. 27:45.080 --> 27:47.080 I've had many a thrill myself listening to Suspense, 27:47.080 --> 27:49.080 and I hope we were able to send a few chills 27:49.080 --> 27:51.080 up and down your spines tonight. 27:51.080 --> 27:54.080 I'm sure next week's program will when Roma wines 27:54.080 --> 27:57.080 bring you Hume Cronin in Make Mad the Guilty. 27:57.080 --> 27:59.080 It's a real thriller, so don't miss it. 27:59.080 --> 28:00.080 Good night. 28:00.080 --> 28:02.080 Angela Lansbury appeared through arrangement 28:02.080 --> 28:05.080 with Metro-Goldwyn-Mayer producers of High Barbary, 28:05.080 --> 28:07.080 starring Van Johnson and June Allison. 28:07.080 --> 28:10.080 Tonight's Suspense play was written by Robert Richards 28:10.080 --> 28:13.080 from an original story by Elizabeth Heaston Heisch. 28:13.080 --> 28:16.080 Next Thursday, same time, you will hear Mr. Hume Cronin 28:16.080 --> 28:19.080 as star of Suspense. 28:19.080 --> 28:22.080 Produced and directed by William Spear 28:22.080 --> 28:25.080 for the Roma Wine Company of Fresno, California. 28:33.080 --> 28:35.080 In the coming weeks, Suspense will present such stars 28:35.080 --> 28:38.080 as June Havoc, Vincent Price, Marsha Hunt, and others. 28:38.080 --> 28:41.080 Make it a point to listen each Thursday to Suspense, 28:41.080 --> 28:49.080 Radio's outstanding theater of thrills. 28:49.080 --> 28:53.080 A famous name presents a great experience in taste luxury. 28:53.080 --> 28:55.080 C-R-E-S-T-A 28:55.080 --> 28:59.080 V-L-A-N-C-A 28:59.080 --> 29:00.080 Cresta 29:00.080 --> 29:01.080 Blanca 29:01.080 --> 29:04.080 Cresta Blanca 29:04.080 --> 29:07.080 Yes, for the most discriminating, Cresta Blanca 29:07.080 --> 29:10.080 offers two rare California cherries. 29:10.080 --> 29:12.080 Dry Watch and Triple Cream. 29:12.080 --> 29:15.080 Compare Cresta Blanca Dry Watch and Triple Cream 29:15.080 --> 29:18.080 with the world's finest cherries, regardless of price. 29:18.080 --> 29:22.080 You'll find Cresta Blanca Dry Watch and Triple Cream 29:22.080 --> 29:25.080 unequaled in America, unsurpassed anywhere. 29:25.080 --> 29:29.080 Schenley's Cresta Blanca Wine Company, Livermore, California. 29:29.080 --> 29:33.080 Listen to Suspense next week, same time, same station. 29:33.080 --> 29:40.080 This is CBS, the Columbia Broadcasting System.