 Now, Roma Wines, R-O-M-A, made in California for enjoyment throughout the world. Roma Wines, present. Suspense. Tonight, Roma Wines bring you Mr. Michael O'Shea as star of Photo Finish, a suspense play produced, edited and directed for Roma Wines by Williams Spear. Suspense, Radio's Outstanding Theatre of Thrills, is presented for your enjoyment by Roma Wines. That's R-O-M-A, Roma Wines, those excellent California wines that can add so much pleasantness to the way you live, to your happiness and entertaining guests, to your enjoyment of everyday meals. Yes, right now the glass bowl would be very pleasant, as Roma Wines bring you Michael O'Shea in a remarkable tale of... Suspense. Well, it was hot enough to fry eggs on a sidewalk, about the worst we'd had all year, and I hadn't made a dozen cash jobs since morning. But at five o'clock I was still in there plugging, because that's the way I am. I level on a guy in a dame that looked like they might go for a good two-shot and snap them and hand the guy the card that tells him how he can get three prints of that fine candid camera shot I just made of him for only a dollar. But he just brushes me off like all the rest. Tell us the last shot on the roll and I unload and figure to call it a day when I see a guy coming through the crowd that's dressed up as sharp as a tack and he sort of glances at himself sideways in the store windows and generally seems extra fond of himself. So quick as a flash I get me sights on him and then a funny thing happens. He sort of staggers as though somebody had just come along and give him a big slap on the back and then he starts folding and all so sudden that I can't even stop myself and so helped me I snap him right in the middle of his dive. And then he's out like a light and everybody has a crowd around everybody's saying get the doctor in the heat, somebody else is calling him. Enough, enough, enough is enough. I'm all burned up with this guy in the heat and the day and everything. So I just turn on my heel and head for Jake's place to cool off. Say a cup of coffee? Yeah, yeah. How'd you go today? Doing any good? Are you kidding? People don't want to have their pictures made when they got perspiration running down their faces and the guys are in their shirt sleeves and the dames dressers are all wrinkled up out of shape. All they want to do is to get somewhere where they can cool off like me. What a day. And the payoff here, listen to this. I'm making a guy just before I come in here. A swell shot it would have been too. And just as I snap him, what do you suppose he does? What? He falls, he collapses right in the sidewalk. I've boomed the heat or something, I don't know. Yeah, is that right? Yeah, boy do I pick the cash customers. Oh, tough on a poor guy, huh? Tough on him. What about me? I've got a livin' to make do, you know. Well, yeah, that's right. Oh, pardon me. Jake's friendly pharmacy, huh? Well, I don't know. Well, uh, just a moment, I'll see. Hey, uh, hey Joe, it's your wife. Uh-oh, I forgot. She told me specially to be home early today. She got a steak for tonight. What'll I tell her? Uh, tell her I just left. No, no, wait a minute. Tell her you won't see me all day. Okay. Uh, no, no, he's not here, Mrs. Mooney. No, no, I haven't. Yes, Mrs. Mooney. Yeah, I sure will. Yeah, uh, she said if I, uh, see ya. Hey, hey Joe. Hey, hey Joe, wait. I ain't got time. I'll see you tomorrow. Hey Joe! Hello, honey. Don't honey me. Mmm, something smells good. Supper ready? It is supper ready. Oh, of course supper's ready. The potatoes are all nice and dried up and the meat's good and tough. Supper's been ready for an hour. Hour has? Oh gee, I do. You know I told you to be home on time tonight. You think the Hannah's steaks out for good behavior nowadays? Oh gosh, Mo, I forgot. I forgot. You'd forget your name if it wasn't pasted inside your hat. Where've you been? Why, I, I was working. This late? On a day like this? Hey wait a minute, let me look at you. Oh now wait a minute, Maude, now wait. Maude, listen. Something happened today. I wasn't gonna tell you about this. I was gonna spare your feelings. This one, it better be good. Well, it, it shook me up pretty bad. I don't mind telling you. And that was the whole trouble why I was late. Yeah, I suppose this time you found an Adam Baum in his suitcase and you picked it up. No, Maude. Listen, Maude, I'm serious. I saw a man die today, Maude. Well, they do it every day, don't they? Yeah, but Maude, I was taking his picture. He, he died right while I was snapping it. Right at me feet. Swooned. I suppose he grabbed you around the ankle so you couldn't come home. But Maude, they, they, they thought it was murder. Murder? Who thought so? Well, everybody, the people that saw it, they, they was asking me all kinds of questions. Oh, Joe. Oh, what do you want to tell me a story like that for? I swear, Maude, I swear I can prove it. I got to fill them. I'll develop it right here tonight. I got it right here in my camera and I'll get my, my, my... Now what? My camera. I must have forgot it. Oh, I might have known this was all leading up to something. Where's the ticket? The what? You know what? The pawn ticket. Oh, Maude, you got me all wrong. The camera's all right. It's right where I left it. Right in Jake's place. Oh, Jake's place. Well, which is it? The hawk shop or Jake's place? Oh, Maude, I was only in there for a minute. Oh, Joe, how can you do it? You're in your camera hanging around in that cheap joint when you know we're trying to save up for a studio of our own? Oh, Joe, we're never going to get out of this rut. Oh, Maude, look, look. I, I had to leave the camera there. Had to? Why? Because of that bitch. I was scared to bring it home. It, it might be evidence or something. Joe, you just said a minute ago you had it with you. You said that you... I, I... Oh, who in the world could that be? I'll, I'll get it, honey. You, you stay right here. That's it. Just rest yourself. I'll go to the door. Your name, Mooney? Yeah, that's right, yeah. Sidewalk photography? Yeah, that's indeed, that's right. Did you take a picture of a guy keeling over on Main Street about five o'clock this afternoon? Uh, that, that's right. I was, I was just telling my wife. You got your camera here with the picture? Uh, well, I know. I, I left it downtown. You better come along with us then. Hey, say, what is this? Who are you? Police headquarters. Police? Police. Say, say, what is this all about? You want to know you saw the guy bumped off, didn't you? Bumped off? Yeah, I... Maude, the guy is dead. He was murdered. Of course I could see now how that picture might only be pretty important evidence, so naturally I'm glad to go along with these coppers and help them out all I can. When we get out in the sidewalk, there's a car there, and two other guys sitting in a all-plane clothes cop, sir. Evidently the homicide squad, I suppose. And we go over to the set of car. Is that the guy? Yeah, but he don't have it with him. Where is it? Downtown. I've forgotten left there, place on Main Street. Oh, that's bad. We got that other car to make and Main Street's out of the way. Well, gee, I'm sorry. It just happened tonight. I forgot. You'd talk when you're told to. The rest of the time you keep quiet, see? Well, sure, officer. Just... Well, we go by this joint on Main Street and then we make the other car. No, we can't. We gotta be on time for that one. Right on time. Going by Main Street, we'd never make it. Then we gotta take this mug along. Well, say that'll make it off a crowded after we leave the... Well, after we leave the other place. Hey, Mooney, you got a car? Yeah, why, certainly, officer. The one right ahead... Hey, that's an idea. We take his car and put the... All right, all right. You want Harry to take him in his car? Harry drives, you follow us. You got it? Okay, Frankie. Let's go. We get in my car and start downtown after the others. Now, the cop they call Harry is driving and I'm shitting in the back seat with the other one. At first, I don't say nothing, especially after the crack that other cop had made. Anyway, I see these two are sort of tense and nervous. I can see these cops are taking this crime pretty serious. But after a while, they loosen up between themselves and I look for a chance to get myself into the conversation. Frankie's taking it easier than I thought. Yeah, but I wouldn't want to be those guys that mess it up. Say, I sure hope I can be of some help to you fellas. Oh, I wouldn't worry none about that. Yeah, that's about the least to your worries. Well, it's nice of you to put it that way. Say, you got any clues? I mean, like who killed this guy or anything? Yeah. Some guys that didn't like him. Oh. Gee, it's funny though. I never would have thought it. I mean, I didn't notice anything like a shot or anything. It was a silencer job. You'll talk too much. What's the difference? You'll read it all in the papers, won't you? You'll still talk too much. Where are we going now? The morgue. Oh, yeah. The morgue. Yeah, we want you to sort of identify the body. We get to the morgue and drive up to the entrance and wait outside while these cops in the other car go in to fix it up for me to do my stuff, I figure. But in about five minutes they come running out and do it on a carry and something wrapped up in a sheet. And I don't need no X-ray eyes to see it is a stiff. And then they throw it into our car on a Florida backseat like it was a bundle of wood. Then we take out of there like somebody was after us following the other car heading for the west side of town. I don't know. It all happened so fast. And I'm hanging on so tight when we go around the corners on two wheels and trying to keep my feet out of this stiff space and beginning to feel not so good about the whole thing. Well, at first I don't dare open my mouth, but fear my heart will jump right out to me left. But after a while I can't help it. I just got to find out what it's all about. Hey, I, I guess that's the, the body, huh? This boy's bright, Harry. He must have went to college. Ha, ha, ha, ha. Well, the funny one but I identify it. Oh, you have plenty of time for that, Junior. Ah. I guess you, I guess you're not going by the joint main street for my camera, huh? One thing at a time, but one thing at a time. You asked too many questions. That ain't healthy. Uh, healthy? Hey, listen. Cops! Cops! Look, Frankie's signaling. Yeah, he means we should separate. Take your next turn to the left and head for the hills. Cops? What are cops chasing us for? If you guys are... Oh, my God! The best thing we can do is ditch this heap. I ain't taking no rap for Frankie You ain't cops. You guys ain't cops at all. Well, what do we do with him? What do you think? Hey, now, wait. What are you guys going to do? What do you think? No, no, wait a minute! That is the last thing I remember. A world full of stars. A veritable blackout. Suspense Roma Wines are bringing you Michael O'Shea in photo finish. A radio play by Roy Grandy and Robert Richards. Roma Wines' presentation tonight in radio's outstanding theatre of thrills, Suspense. Between the acts of suspense, this is Truman Bradley reminding you that as the temperature goes up, so does the popularity of tall, frosty, thirst-quenching drinks. And topping them all for cooling, delicious refreshment is Roma Wine and Soda, iced, America's smartest, coolest summer drink. Roma Wine and Soda, so cool for a hot, tired husband to come home to, so delightfully pleasing to guests. And serving Roma Wine and Soda is simplicity itself. You just have filled tall glasses with Roma California Burgundy or Sautern or any other Roma Wine type you prefer. Then add ice and sparkling water and sweeten to taste. Good! You'll agree, Roma Wine and Soda, iced, is the coolest, most refreshing, tall drink you ever tasted. And remember, because Roma Wines are selected for your pleasure from the world's greatest reserves of wines, your Roma Wine and Soda is better tasting every time. Yes, Roma, drawn from the world's greatest reserves of fine wines, brings you unvaryingly fine wine always at reasonable cost. So insist on Roma, R-O-M-A, Roma Wines. Discover for yourself why more Americans enjoy Roma than any other wine. And now, Roma Wines bring back to our Hollywood Soundstage, Michael O'Shea, as fearless photographer Joe Mooney in photo finish. A tale well calculated to keep you in suspense. There's something that sounds like heavy machinery at work where my brains ought to be. And every time this machine turns over, it feels like it's going to blow the top off my head and I'm all sprawled out some place. And then it turns out to be the back seat of a car. I managed to stumble over something that's down on the floor. And then I'm out of this car sitting in a little dirt road and it's some time at night. I don't know what it's all about. I don't know what I'm doing here at all. And then I see that this is my car and that makes some sense. And then I remember my camera. I got to get my camera. That's it. An account of more it says I shouldn't have left it. Jake's place. That's where I left it. And so I crawl back into the car and I get it turned around and headed down this dirt road. Pretty soon I'm on a bigger road and then I'm on the main highway back to town. All the time I'm thinking, this is a funny thing for me doing. But the main thing is I got to get the camera. And then I'm pulling up in front of Jake's place and I'm going in. Your wife was looking for you. Maude, was she in here? Yeah, she came down to pick up your camera. Oh, well, that's OK then. That's what I came by for. Hey, you all right? Yeah, I guess so. Well, you don't look it. Where's your hat? Hat? What hat? I don't know. Maybe it's out in the car. Hey, come here. What happened to your head? Ouch, don't touch it. You better go home get some sleep, Joe and have somebody look at that head, put some tincture and mercure chrome on it. This ain't like you at all. No. Yeah, I better be going, huh? Oh, oh, wait. Yeah, your wife left the purse. She was kind of upset anyway. Worried about you, I guess. Oh, thanks. Boy, you're a lucky guy, Joe. I didn't know the Mrs. was anything like that. What a knockout. Huh? Yeah, she's gorgeous, Joe. That don't sound like Maude. It don't. Well, it was. Hey, what did this dame look like that picked up my camera? Listen, you ain't so far going. You can't remember what your own wife looks like, are you? No, only this ain't my wife's purse. It ain't? No. What did the dame look like? Oh, medium size, young, blond, terrific figure, gorgeous face. Uh-uh, that ain't Maude. No? No. Maude is kind of, well, but she's nothing like that. Well, what do you know? Listen, Jake, I've been having some awful peculiar experiences tonight. Yeah? You must have been. I better call Maude. She can always figure these things out. Now, wait a minute, Joe. Maybe you had an order just now. I wish you'd let me fix you up with a little something straightening out. I got the greatest thing in the world for you. It'll make you feel a lot better. I saw it come in his other night. He was just awesome. Hey, I can pick them up on the wall. Hello? Hello. Hello, Maude. Well, it's about time you turned up. I've been worried to death. Listen, Maude, I came by to get the camera. Only some girls, some blonde had already picked it up, but I'm going to find it now and get the camera. So don't you worry. Just listen to me. Don't you go getting mixed up with any blondes. You're mixed up enough already. But it's all right, Maude. I'll just pick up the camera and come right home. It's funny, though, when she came by here to get it, she said she was you. Yeah, yeah, that's not all. It's funny. You're in pretty deep, Joe Mooney. In the first place, those men you went out with weren't the police at all. Those men, the cops? I'm trying to tell you they weren't cops. I called the police headquarters myself and they said they'd never hit. Wait, wait, Maude. Now, I remember. We were going to go to get my camera. Only we didn't get it. We got in my car and we went to the morgue and then... Maude! Joe! My car! I got a dead man in my car! You look like you've seen a ghost. Don't say that, Jake. Now, come on. You've got to help me. Come on. Okay, Joe, but... Come on, out in my car. I'll show it to you, Jake. What'll I do? What am I going to do? Show me what? The stiff, the dead man. What? Then my car. Now listen, Joe, come on back inside. Let me fix you up a little something. No, no, it's there. I'm telling you. I've been there for a while. Maybe it'll go away. Go. Hey, Freddy! All right, all right, all right. You think I'm crazy, huh? But here. Look! Yeah? Oh, no. It's gone. Well, there. Now isn't that nice? Jake, no, look. On the level, Jake. I remembered the whole thing now. I was hijacked by gangsters and they stole a stiff out of the morgue. Uh-huh. The guy that was killed that I took the picture, remember? Yeah. And then the cops chases and they hit me on the head and when I talked to Maude, the whole thing came back to me. Well, sure. Sure it did, Joe. You come on back inside. Let me fix you. I couldn't have dreamed it all, Jake. I couldn't have dreamed it. Could I? Now, you just sit down right here and I'll fix you up. Now, wait. Listen. Maude'll tell you, Jake. She called the cops when I didn't show up. And what's that blonde doing after my camera? What about her? Well, now, that's a different story. That wasn't no ghost. Jake, I got to get that camera. Alice, in the first place, you don't know how to find it, Dave. Well, maybe there's an address in her purse. And in the second place, if there was all these gunsles and stiffs and all, maybe she's mixed up with them. And in the third place, hey, that reminds me. There was a funny thing about that camera. Here's the address here, right here. When your wife called the first time I mean on a phone, I guess it was your wife. Well, anyway, she said for me to... Oh, pardon me. Wait a minute. Jake's Friendly Pharmacy. Jake's Friendly Pharmacy. Oh? Oh, yeah. Yeah. Yeah. Well, now, just a minute. Joe, it's the blonde on the phone now. The blonde? Yeah, she's still saying she's your wife. If she wants to know, she left her purse here. Oh, well, I want to talk to her. Yeah, well, okay. Take her to the boot, huh, Joe? You're not a customer. Yeah, yeah, a customer. Um... Hello? Oh, I'm awfully sorry to trouble you. Did you find it? Listen, uh, Madam, this is Joe Mooney. What's the idea saying you're my wife and swiping my camera? Oh, Mr. Mooney. Yeah, yeah. Well, I'm listening. Oh, Mr. Mooney, I... I don't know how to tell you. Well, you better find out because my wife more than plenty saw and I want my camera. Oh, I know it was a terrible thing to do, but that picture you took of the man who was killed. Yeah? He was my brother. Your brother? Oh, gee. Oh, I don't know why those terrible men killed him. He was wayward, but he wasn't a bad boy, and he was all I had. Hmm. Gee, I... I didn't know about that. I never had a picture last of a mentor, but I didn't know if you were so ashamed. Well, sure. I'd give it to you. Sure, I would. Would you? Oh, Mr. Mooney. Uh, what about my camera? Oh, I have the camera. You can come up and get it now if you want to. Well, that'd be fine if it ain't too late. Oh, no. Oh. Well, sure, you poor kid. Well, I'll be right up. I got your address right here. Oh, Mr. Mooney, I don't know how to thank you. Well, I don't even try to mention it. And, uh, would you mind bringing my purse when you come? Why, Saitani? I'll be waiting. Okay, babe. Uh, miss, I'll be right up. Well, on the way up, I get to think, and this is an awful funny picture to want as a souvenir of a guy, a shot of him getting bumped off in the street. But the cost is no accounting for dames. And then I figure she probably don't even know the kind of a shot it is, the poor kid, and I figure I'd better break it to her as gentle as I can, which is only what anyone else would do, especially if she's the knockout that Jake says. And she is. Mr. Mooney? Uh, yeah, yeah. Won't you come in? Well, thank you, miss, uh... Oh, day. Oh, day. Oh, Mr. Mooney, you must think I'm a terrible person. Why, no, not at all, miss O'Day. Why, I knew the minute I talked to you on the phone that you wasn't like some girls. I mean that you was... Well, you was the real thing. Oh, Mr. Mooney. Uh, he's your purse. Oh, thank you. You, uh, got my camera? Oh, yes, I've got the camera. But, uh, you were going to give me the picture, weren't you? Oh, sure. After you give me the camera. After I give you the camera? Yeah, you see, the picture, the film that is, is still in the camera. Oh, but it isn't, Mr. Mooney. I looked. It isn't. But it's gotta be. Are you trying to tell me you don't have the film, Mr. Mooney? Well, well, how could I? I ain't had my hands in that camera since I left it at Jake's to set an own. Look, Mr. Mooney, let's not be difficult. Just give me the film. But I ain't got it. I'm telling you, I ain't got it. All right, boys. All right, boys. Hey, what is this? Oh, Junior. Hey, where did they come from? They're friends of mine. Yeah, but they put a dead body in my car. Oh, that's stiff. Well, now, wait a minute. Don't you worry about that none. He's in a nice, safe place. All right, all right. We ain't got all night. Where's that film? Film, but I don't know. Risk him. Okay. Hold still, now, Junior. Hold still. But Miss O'Day, these guys, that body, that was your brother. Just get the cell. You just can't believe nothing that Dame tells you. Ain't it true, Junior? Huh? I don't have it on him, Frankie. Now, look, fellas. I don't want to have no trouble. All I want is my camera. We don't want no trouble. Now, listen, Mooney, we want that film. We don't care how we get it. So talk and talk fast. Yeah, but how could I have it? I ain't had the camera. Nobody could have got that film except her, unless Jake. Jake. Then I'll get the drugstore. Yeah. Yeah, do you think that guy's got it? Get it, Gene. Okay. Yeah? Yeah? All right, okay. Thanks, Harry. It's a tip-off. They're on their way up here. Oh, come on. We gotta scram. What about him? What do you think? Oh, no, now, wait a minute. Oh! I can see it coming, but I can't move. And there's that whirl full of stars again and that veritable blackout. It was all like something that had happened before. That big machine banging away in my head and the thoughts beginning to flow up around it little by little. Only this time I'm in a room. The lights are on, but there's nobody there. And then I saw my camera and I remembered. I remembered there was a phone someplace, too, and I found it and crawled over to it and started dialing my number. Oh? Mod. Joe. I got the camera, Mod. The camera? Where are you? Well, I came up to that blond's place this evening. Blond, my Aunt Fanny. Don't you know by this time you're mixed up with a bunch of gangsters? Yeah, I know. They wanted that film. Never mind about the film, either. You just come home. Yeah, but the film wasn't in the camera. Listen to me, Joe Mooney. I know all about that film. I don't trust anybody, not even the police. And I realize that film might be pretty valuable. So after you left, I phoned Jake and told him to take the film out of the camera before he gave it to anybody. And then Jake came back to the phone and told him, Are you listening? Mod, Mod. Why is there somebody coming? Joe! Mod, Mod. I got to go. I got to go. Hello. I grab my camera and find a service entrance in the kitchen. And even though my head feels like it's bouncing on every step, I'm down those back stairs on wings. Then I'm into my car and ten blocks away before I bet them guys up there have even had time to crack the lock in the door. And I keep on going until I'm backward as plenty of lights. And then I feel really safe. And believe me, I have some sigh of relief. Oh, boy. Well, I'd be glad to see more than the old shack. Well, it's about that time I noticed this other car pulling up alongside. Hey, you! Pull over! Huh? Pull over to the side. We're from headquarters. Ah, no you don't, brother. Not twice you don't. Not Torres Cookie. I got to jump on them and I got that thing down to the floor because I figure my luck is about to run out. And if I'm dumb enough to let these guys grab me again, I don't deserve the answer for the consequences. I make a right and head for the lower part of town that's just cut out for duckin' white jumps like them. And then I look around to see where they are. Out of a good half a mile behind, I figure to make it easy. Only when I look back at the road, there ain't no road. There's a lamp post. Moni, you're gonna know them stars better than the head of the planetarium is what I'm thinking when it happens. This time I am walking and a guy all just and wide has me by the arm, so naturally I think I'm coming up to the pearly gates. And sure enough, there's a big iron gate. Only it looks too much like the door or the bullpen at headquarters to suit me. And a guy that looks like a guard is opening it and then I'm in a room with a lot of people, cops and all them gangsters and the blonde and... and Maude. He's still a little dazed, but he'll be all right. Maude. Joe, for heaven's sake, what happened to your head? Plenty. I'm sorry about the accident, Mrs. Mooney, but he tried to run away from us. I expect he brought it on himself, all right. He usually does. We just want to ask him one question, Mrs. Mooney. If he feels like answering it. Of course he can answer it. Mr. Mooney, can you identify these people as the one who stole the dead body out of the morgue? I sure can, and how? That's all, then, Mrs. Mooney. We'll call you when we need you again. He does get the reward, though, doesn't he? Oh, yes. He'll get the reward, all right. The reward? You better get him home now, Mrs. Mooney. Yeah, yeah. Come on, come on, Joe. But, Mo, wait, what is this with this reward, him? $10,000. Steady, Joe. Steady. $10,000. Oh, goodness, Joe, don't you know yet what's been going on? Listen, Joe, those people were wanted all over the country. They're a gang of bank robbers or something. That man, they killed a double-crossed him somehow, see? And then they went to the morgue, and they held up the attendant, and they stole the body and disposed of it, you see? Because they figured with the body and that film of yours out of the way, there wouldn't be any evidence against them. Yeah, that's right. The film. Oh, no. I guess that film was pretty important evidence, huh? $10,000 worth. Oh, Joe Mooney, you are a nitwit. You're the only one who could identify him, that's all. Maybe I'm a nitwit, maybe I'm a nitwit, but I wasn't too dumb to get that $10,000 picture, was I, huh? Well, was I? Oh, you took the picture all right. All right. But there wasn't any film. No film? Because you forgot to put film in your camera. Mine! Suspense! Presented by Roma Wines, R-O-M-A. Made in California for enjoyment throughout the world. This is Truman Bradley for Roma Wines. July, one of the warmest months, calls for tall frosty iced drinks. And during these hot, self-redays, I always call for Roma Wine Lemonade. A cool, thirst-crunching treat that's tempting, tasty, delicious. Yes, when temperatures soar, Roma Wine Lemonade is the first choice as a tall, cool refresher after a sweltering day's work, as a low-cost, easy-to-serve party drink for summer guests. Here's how. In a tall glass, place ice and the juice of half a lemon. Pour three quarters full with Roma, California Burgundy, or any other Roma wine type you choose. Fill with water, sweetened to taste, and stir. Presto, you've a drink fit for a tropical king. Remember, a refresher made with Roma, selected from the world's greatest wine reserves, is better tasting naturally. So be sure to enjoy Roma Wine Lemonade. Insist on Roma, R-O-M-A, Roma Wine. Largest-selling wine in all history. This is Michael Sheehy. I've certainly enjoyed appearing on Suspense, a long-time favorite of mine. You know what I mean? Well, next Thursday I'm sure you'll want to be listening when one of Hollywood's finest radio actors, Mr. Elliot Lewis, will appear as star of Suspense, and a play of which he is also the author. Next Thursday, same time, Roma Wines will bring you Mr. Elliot Lewis, as star of Suspense, Radio's outstanding fitter of thrill. Produced by William Spear for the Roma Wine Company of Fresno, California. This is CBS, the Columbia Broadcasting System.