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Now, Roma Wines, R-O-M-A, made in California for enjoyment throughout the world, Roma Wines

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presents...

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Suspense!

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Tonight, Roma Wines bring you Mr. J. Carroll Nash as star of Commuter's Ticket, a suspense

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play produced, edited, and directed for Roma Wines by William Spear.

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Suspense!

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Radio's outstanding theater of thrills is presented for your enjoyment by Roma Wines.

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That's R-O-M-A, Roma Wines, those excellent California wines that can add so much pleasantness

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to the way you live, to your happiness in entertaining guests, to your enjoyment of

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everyday meals.

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Yes, right now, a glass full would be very pleasant as Roma Wines bring you J. Carroll

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Nash in a remarkable tale of...

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Suspense!

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Ever ride a commuting train?

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If you have, you probably don't think anything of it, not if you're one of the regulars.

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Commuters are just people coming from one place and on their way to going someplace

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else.

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What happens in between doesn't mean a thing.

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They don't remember it afterwards.

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They don't see the scenery.

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They look right at faces beside them and don't see them.

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I know.

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I used to ride the 815 into the city to work every morning and the 545 home in the evenings.

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Yeah, I used to ride the trains.

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Oh, could I bother you for a match?

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What?

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Oh, man.

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Yeah, I left mine at the office.

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Where I work, Consolidated Press, the wire service, you know.

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Don't say.

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Oh, I'm not one of the reporters.

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Here's a book of matches, Keaton.

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Thanks.

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Now, I repair teletype machines.

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You know, the machines that print the news when it comes in and relay it out to the newspapers

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all over the country.

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Don't say.

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Funny trades people get into.

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Now, me, I was a speed typer.

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The fellow on my ship was a telephone man.

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Both wind up in the same place, repairing teletype printers.

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It's a whole profession, you know.

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Most people don't know it exists.

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But there you are.

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They break down just like any other machine.

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Oh, what's your line?

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Look, I'm sorry, these rides are the only time I have to go over my report.

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Oh, sure, sure.

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I didn't mean to put in.

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I just thought maybe I'd seen you in the Laurel Creek station.

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No, not my station.

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I see a lot of people waiting for the train there, but I never get to know them.

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Oh, my name's Bert Gavin.

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It's all right.

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Keep the matches.

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I got another book.

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You ride right along beside the same people, or the same kind of people anyway, for weeks,

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months, years.

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Nobody knows you there.

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The same conductors see you every day, and still they ask you, what's your station?

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I got so I took it for granted like any other commuter.

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Then I got to thinking about it again, especially on the downed peninsula runs, going home to

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that house, that house that didn't have any love in it anymore.

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I said I lived in Laurel Creek.

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Well, that was my station.

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Only where I lived was on the wrong side of the tracks.

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The house was so close to the tracks we couldn't have a backyard for the rails.

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Every time a train would go by, it'd shake the whole house.

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The walls would shake, the windows would rattle, the ground would shake under the foundations.

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It was like living on the edge of a volcano.

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As I walked into the house that night, the Bayside Limited was just coming through.

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Alva?

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Hey, Alva.

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Who is it?

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That's you, Bert?

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What are you doing home?

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Did you lose your job?

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Well, it gets past.

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I can't hear you.

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What?

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What did you say?

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Oh, I said shut up.

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What's the big idea coming home like this?

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Why don't you let me know?

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I finished early.

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We're going to get overtime.

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You're losing overtime.

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Well, maybe I want to have dinner with my loving wife for a change.

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Well, you won't.

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There's nothing in the house.

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Couldn't we rustle up some scrambled eggs or something?

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I told you there's nothing in the house.

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What were you going to eat?

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I was going out, if you want to know.

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Who with?

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Well, it's none of your business.

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It's Alf Gorman, isn't it?

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You've been seeing him again, haven't you?

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Well, what if I have?

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I don't want you to see him.

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You're my wife.

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Pity you didn't think of that when you moved me out here to the Sixth.

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Well, your boyfriends don't seem to have any trouble locating you.

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You rented a house on the railroad tracks deliberately just to punish me.

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Well, you don't have to stay in it.

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No, I don't, but you do.

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And every time that train goes by in the night, I like it.

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You don't sleep so good, do you, Bert?

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The trains get on your nerves, too, don't they?

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I guess that's something you didn't figure on.

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Hey, maybe I figure on more than you think.

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What do you say that for?

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And what are you simpering about?

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What's the matter, Alva?

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You sound like you're scared of me.

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Of you?

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Huh.

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Don't make me laugh.

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And don't make a scene when Alf comes by to pick me up.

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You know what happened the last time.

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But it won't happen again.

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The laugh's on me, isn't it?

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I move you to the country to keep you away from the juke joint so he drives out here to

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see you.

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The country.

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You call this the country.

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A shack on the railroad tracks.

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You bring me here.

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You must be crazy to think anybody could turn over a new leaf in a place like this.

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Maybe I am crazy, but not the way you think.

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There you go again, getting that silly look on your face.

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What time did you say Alf was coming to pick you up?

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Seven o'clock.

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That's fine.

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That's perfect.

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I'll just have time to catch the 715 back in the town and earn that overtime.

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Well, what are you waiting for?

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It's about time for the 645 to pass by, isn't it?

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Yeah.

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Do stay and enjoy it, Bert dear.

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Honey, you don't know how much I'm going to enjoy this.

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Ah, there it is.

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Here it comes.

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Ah, it's a minute early this evening.

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Bert, what's the matter with you?

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What do you want with that poker?

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What do you think I came home early tonight for?

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I'll give you three guesses.

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Bert.

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Nobody saw me leave the office.

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The watchman was asleep.

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He'll still be asleep when I get back.

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As far as the police will know, I never left there.

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I was there all night fixing the printers, earning my overtime.

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Bert, don't do it.

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You'll never get away with it.

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Everybody saw you coming out on the train.

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It'll be the same going back.

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You can't help being seen.

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So many people on those trains.

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What you don't know, honey.

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What you don't know.

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I'll scream.

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I'll scream so loud the neighbors will hear.

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Nobody's going to hear anything except this train.

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Here, there's a big baby now.

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A nice long train.

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Long and loud.

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Go ahead, scream your head off.

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Bert, put that down.

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You don't know what you're doing, Bert.

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Get away from me.

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Bert, please, please let me go.

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Bert, please, please let me go.

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Bert, please, please let me go.

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Bert, please, please let me go.

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Bert, please, please let me go.

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Bert, please, please let me go.

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Bert, please, please let me go.

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Bert, please, please let me go.

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For Suspense, Roma Wines are bringing you J. Carol Nash in Commuter's Ticket, a radio

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play by Roy Grandy and Robert Tallman.

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Roma Wines presentation tonight in radio's outstanding theater of thrills, Suspense.

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In the acts of Suspense, this is Ken Niles with a friendly suggestion.

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If the heat has you worn to a frazzle, soothe that ruffle disposition and those hot weather

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nerves.

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Take it easy.

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Cool off with a refreshing Roma Wine and Soda ice.

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Yes, Roma Wine and Soda, America's smartest, coolest summer refresher.

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For there's nothing so cool to come home to as the thirst quenching refreshment of Roma

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Wine and Soda.

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Being a summer favorite here in Hollywood, Roma Wine and Soda is now enjoyed by millions

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everywhere for cooling comfort and taste-tempting luxury.

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To prepare, just half-fill tall glasses with Roma California Sauternes or Burgundy or any

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other Roma Wine type you prefer.

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Then simply add ice and sparkling water.

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That's all there is to it.

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Your Roma Wine and Soda is ready to enjoy.

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So good and cool.

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And remember, Roma Wine is selected for you from the world's greatest wine reserves.

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That's why a refresher made with Roma is better tasting every time.

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So for luxurious low-cost refreshment, insist on Roma, R-O-M-A, Roma Wine, enjoyed by more

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Americans than any other wine.

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And now, Roma Wines bring back to our Hollywood Soundstage, J. Carol Nash as Burt Gavin in

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Commuter's Ticket.

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A tale well calculated to keep you in suspense.

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The train was gone and so was that awful feeling inside.

208
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I just stood there looking down where I'd knocked her.

209
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In the quiet, there wasn't any reason for what I'd done.

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I was sorry, kind of.

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00:09:05,960 --> 00:09:08,840
I didn't want her dead now, but I had to follow it through.

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00:09:08,840 --> 00:09:09,840
Had to work fast.

213
00:09:09,840 --> 00:09:12,080
Alf was coming forward at seven.

214
00:09:12,080 --> 00:09:13,080
He'd find her body.

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00:09:13,080 --> 00:09:14,080
Maybe they'd try to hang it on him.

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That was a laugh.

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00:09:15,080 --> 00:09:19,880
It was just a small noise when I picked up the poker, but even that scared me.

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I had to wipe it off, though.

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Those small sounds a man makes when he's alone around a house.

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I heard every step I took.

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I'd have given anything for another train to break up the silence, but there wouldn't

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be another train to the one I had to get on.

223
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I had to work fast if I was going to catch it.

224
00:09:35,760 --> 00:09:38,880
I opened a broom closet and got out a stepladder.

225
00:09:38,880 --> 00:09:41,840
I set the ladder up and climbed to the top of it, feeling dizzy.

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00:09:41,840 --> 00:09:44,280
What I wanted was in a pewter mug on top of the sideboard.

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I got up in a hurry and climbed down.

228
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It was over 2,000 bucks in cash.

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I'd been saving it for a long time.

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I needed it now.

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00:09:50,320 --> 00:09:52,320
I might not be coming back to this house.

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I had to put a ladder away and straight out of there before Alf put in his appearance.

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The buzzer stopped me cold.

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Was him all right?

235
00:10:04,320 --> 00:10:09,440
I could see a shadow on the frosted glass of the front door.

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In a minute, he tried the door.

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I didn't know whether it was locked or not.

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I didn't wait to see.

239
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I head out the back way.

240
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The door that opened only a couple of feet from the railroad tracks.

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For three seconds flat, I was scrambling up over that great steak fence out on the tracks

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lurching over the railroad ties.

243
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Where was the plan that needed plans so nobody'd see me?

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I had a way mapped out, but that way was out the front door.

245
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Now everybody in all the houses along the tracks could see me.

246
00:10:32,960 --> 00:10:33,960
Maybe not though.

247
00:10:33,960 --> 00:10:37,400
People there don't look out through those dirty windows any oftener than they have to.

248
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At the station, I held back on a bench in the darkest corner and waited.

249
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I got on with the others.

250
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Lost in the crowd.

251
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I walked through just like all the commuters.

252
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Took the first good empty seat I found.

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A whole seat to myself.

254
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Mind if I sit here?

255
00:11:04,040 --> 00:11:05,040
What?

256
00:11:05,040 --> 00:11:06,040
Oh, no, no.

257
00:11:06,040 --> 00:11:07,840
I just thought maybe your wife.

258
00:11:07,840 --> 00:11:08,840
Wife?

259
00:11:08,840 --> 00:11:10,480
Well, that may be that you were holding this seat for somebody.

260
00:11:10,480 --> 00:11:11,480
Oh, no, no.

261
00:11:11,480 --> 00:11:12,480
No, it's okay.

262
00:11:12,480 --> 00:11:13,480
Oh, thanks.

263
00:11:13,480 --> 00:11:14,480
Well, say this suits me.

264
00:11:14,480 --> 00:11:16,800
You know, I don't like it when there isn't somebody to talk to.

265
00:11:16,800 --> 00:11:17,800
Yes, sir.

266
00:11:17,800 --> 00:11:19,800
My name's Elmer Russell.

267
00:11:19,800 --> 00:11:20,800
What's yours?

268
00:11:20,800 --> 00:11:22,600
You must not ride on the trains very much.

269
00:11:22,600 --> 00:11:23,600
You guessed it.

270
00:11:23,600 --> 00:11:25,680
From what I hear, people don't meet up with each other very much.

271
00:11:25,680 --> 00:11:27,240
Not on these commuting trains.

272
00:11:27,240 --> 00:11:29,240
I only use them since I'm working nights.

273
00:11:29,240 --> 00:11:31,040
I used to drive them.

274
00:11:31,040 --> 00:11:32,040
What was your name now?

275
00:11:32,040 --> 00:11:34,720
Hey, hey, what'd you do to your hand?

276
00:11:34,720 --> 00:11:35,720
My hand?

277
00:11:35,720 --> 00:11:36,720
What?

278
00:11:36,720 --> 00:11:37,720
Well, you must have cut yourself.

279
00:11:37,720 --> 00:11:38,720
Look, it's all covered.

280
00:11:38,720 --> 00:11:39,720
Oh, yeah, yeah.

281
00:11:39,720 --> 00:11:40,720
Well, excuse me.

282
00:11:40,720 --> 00:11:41,720
Just saw a friend of mine going in the car ahead.

283
00:11:41,720 --> 00:11:42,720
I wanted to see him on a matter of...

284
00:11:42,720 --> 00:11:43,720
I rushed on out of the car.

285
00:11:43,720 --> 00:11:44,720
My heart pounding.

286
00:11:44,720 --> 00:11:45,720
I went in and washed my hands.

287
00:11:45,720 --> 00:11:50,720
Out of all the passions on that train, I had to get beside somebody who didn't have

288
00:11:50,720 --> 00:11:52,240
the commuters habit.

289
00:11:52,240 --> 00:11:53,240
And blood on my hands.

290
00:11:53,240 --> 00:11:55,640
Well, what was the difference?

291
00:11:55,640 --> 00:12:01,600
Nobody ever questioned him about me.

292
00:12:01,600 --> 00:12:02,600
The train lurches.

293
00:12:02,600 --> 00:12:03,600
I started down the island.

294
00:12:03,600 --> 00:12:04,600
The next smoker.

295
00:12:04,600 --> 00:12:05,600
Hey, hey, watch it.

296
00:12:05,600 --> 00:12:06,600
What's the big idea?

297
00:12:06,600 --> 00:12:07,600
I'm sorry.

298
00:12:07,600 --> 00:12:08,600
The train give a lurch.

299
00:12:08,600 --> 00:12:09,600
Sorry.

300
00:12:09,600 --> 00:12:10,600
Well, you don't have to cry about it.

301
00:12:10,600 --> 00:12:11,600
Just watch it.

302
00:12:11,600 --> 00:12:12,600
Yeah.

303
00:12:12,600 --> 00:12:13,600
Hey, hey, wait.

304
00:12:13,600 --> 00:12:14,600
What?

305
00:12:14,600 --> 00:12:15,600
Help me pick up these dominoes.

306
00:12:15,600 --> 00:12:16,600
Oh, go on.

307
00:12:16,600 --> 00:12:17,600
Chase yourself.

308
00:12:17,600 --> 00:12:18,600
Hey, come back here.

309
00:12:18,600 --> 00:12:19,600
What's the big idea?

310
00:12:19,600 --> 00:12:20,600
Gee, I should have helped him pick them up.

311
00:12:20,600 --> 00:12:21,600
He'd remember.

312
00:12:21,600 --> 00:12:22,600
He'd remember that my being rude.

313
00:12:22,600 --> 00:12:23,600
Maybe not, though.

314
00:12:23,600 --> 00:12:24,600
Commuters are used to rudeness.

315
00:12:24,600 --> 00:12:25,600
I hurry down to the next car.

316
00:12:25,600 --> 00:12:26,600
They shut the door behind me and leaned back against it, feeling weak and dizzy.

317
00:12:26,600 --> 00:12:27,600
People near me looked up and stared at me.

318
00:12:27,600 --> 00:12:28,600
I must have looked pretty sick judging from the way I felt.

319
00:12:28,600 --> 00:12:29,600
I grabbed the first vacant seat and fell into it.

320
00:12:29,600 --> 00:12:30,600
Wow, look what just dropped down from the sky.

321
00:12:30,600 --> 00:12:31,600
Hey, can't keep us from having that pork, can they?

322
00:12:31,600 --> 00:12:32,600
Well, what's your limit, friend?

323
00:12:32,600 --> 00:12:33,600
10 percent a point?

324
00:12:33,600 --> 00:12:34,600
Now, don't tell us you don't play bridge.

325
00:12:34,600 --> 00:12:35,600
I'm not playing bridge.

326
00:12:35,600 --> 00:12:36,600
I'm playing the bridge.

327
00:12:36,600 --> 00:12:37,600
I'm playing the bridge.

328
00:12:37,600 --> 00:12:38,600
I'm playing the bridge.

329
00:12:38,600 --> 00:12:39,600
I'm playing the bridge.

330
00:12:39,600 --> 00:12:40,600
I'm playing the bridge.

331
00:12:40,600 --> 00:12:41,600
I'm playing the bridge.

332
00:12:41,600 --> 00:12:50,600
I'm playing the bridge.

333
00:12:50,600 --> 00:12:59,600
I'm playing the bridge.

334
00:12:59,600 --> 00:13:06,600
I'm playing the bridge.

335
00:13:06,600 --> 00:13:15,600
I'm playing the bridge.

336
00:13:15,600 --> 00:13:22,600
I'm playing the bridge.

337
00:13:22,600 --> 00:13:29,600
I'm playing the bridge.

338
00:13:29,600 --> 00:13:39,600
I'm playing the bridge.

339
00:13:39,600 --> 00:13:48,600
I'm playing the bridge.

340
00:13:48,600 --> 00:13:59,600
I'm playing the bridge.

341
00:13:59,600 --> 00:14:06,600
I'm playing the bridge.

342
00:14:06,600 --> 00:14:11,600
I'm playing the bridge.

343
00:14:11,600 --> 00:14:19,600
I'm playing the bridge.

344
00:14:19,600 --> 00:14:26,600
I'm playing the bridge.

345
00:14:26,600 --> 00:14:34,600
I'm playing the bridge.

346
00:14:34,600 --> 00:14:44,600
I'm playing the bridge.

347
00:14:44,600 --> 00:14:53,600
I'm playing the bridge.

348
00:14:53,600 --> 00:15:04,600
I'm playing the bridge.

349
00:15:04,600 --> 00:15:18,600
I'm playing the bridge.

350
00:15:18,600 --> 00:15:28,600
I'm playing the bridge.

351
00:15:28,600 --> 00:15:35,600
I'm playing the bridge.

352
00:15:35,600 --> 00:15:46,600
I'm playing the bridge.

353
00:15:46,600 --> 00:15:55,600
I'm playing the bridge.

354
00:15:55,600 --> 00:16:07,600
I'm playing the bridge.

355
00:16:07,600 --> 00:16:14,600
I'm playing the bridge.

356
00:16:14,600 --> 00:16:21,600
I'm playing the bridge.

357
00:16:21,600 --> 00:16:29,600
I'm playing the bridge.

358
00:16:29,600 --> 00:16:37,600
I'm playing the bridge.

359
00:16:37,600 --> 00:16:47,600
I'm playing the bridge.

360
00:16:47,600 --> 00:16:57,600
I'm playing the bridge.

361
00:16:57,600 --> 00:17:07,600
I'm playing the bridge.

362
00:17:07,600 --> 00:17:17,600
I'm playing the bridge.

363
00:17:17,600 --> 00:17:27,600
I'm playing the bridge.

364
00:17:27,600 --> 00:17:37,600
I'm playing the bridge.

365
00:17:37,600 --> 00:17:47,600
I'm playing the bridge.

366
00:17:47,600 --> 00:17:57,600
I'm playing the bridge.

367
00:17:57,600 --> 00:18:07,600
I'm playing the bridge.

368
00:18:07,600 --> 00:18:17,600
I'm playing the bridge.

369
00:18:17,600 --> 00:18:27,600
I'm playing the bridge.

370
00:18:27,600 --> 00:18:37,600
I'm playing the bridge.

371
00:18:37,600 --> 00:18:47,600
I'm playing the bridge.

372
00:18:47,600 --> 00:18:57,600
I'm playing the bridge.

373
00:18:57,600 --> 00:19:07,600
I'm playing the bridge.

374
00:19:07,600 --> 00:19:17,600
I'm playing the bridge.

375
00:19:17,600 --> 00:19:27,600
I'm playing the bridge.

376
00:19:27,600 --> 00:19:37,600
I'm playing the bridge.

377
00:19:37,600 --> 00:19:47,600
I'm playing the bridge.

378
00:19:47,600 --> 00:19:57,600
I'm playing the bridge.

379
00:19:57,600 --> 00:20:07,600
I'm playing the bridge.

380
00:20:07,600 --> 00:20:17,600
I'm playing the bridge.

381
00:20:17,600 --> 00:20:27,600
I'm playing the bridge.

382
00:20:27,600 --> 00:20:37,600
I'm playing the bridge.

383
00:20:37,600 --> 00:20:47,600
I'm playing the bridge.

384
00:20:47,600 --> 00:20:57,600
I'm playing the bridge.

385
00:20:57,600 --> 00:21:07,600
I'm playing the bridge.

386
00:21:07,600 --> 00:21:17,600
I'm playing the bridge.

387
00:21:17,600 --> 00:21:27,600
I'm playing the bridge.

388
00:21:27,600 --> 00:21:37,600
I'm playing the bridge.

389
00:21:37,600 --> 00:21:47,600
I'm playing the bridge.

390
00:21:47,600 --> 00:21:57,600
I'm playing the bridge.

391
00:21:57,600 --> 00:22:07,600
I'm playing the bridge.

392
00:22:07,600 --> 00:22:17,600
I'm playing the bridge.

393
00:22:17,600 --> 00:22:27,600
I'm playing the bridge.

394
00:22:27,600 --> 00:22:37,600
I'm playing the bridge.

395
00:22:37,600 --> 00:22:47,600
I'm playing the bridge.

396
00:22:47,600 --> 00:22:57,600
I'm playing the bridge.

397
00:22:57,600 --> 00:23:07,600
I'm playing the bridge.

398
00:23:07,600 --> 00:23:17,600
I'm playing the bridge.

399
00:23:17,600 --> 00:23:27,600
I'm playing the bridge.

400
00:23:27,600 --> 00:23:37,600
I'm playing the bridge.

401
00:23:37,600 --> 00:23:47,600
I'm playing the bridge.

402
00:23:47,600 --> 00:23:57,600
I'm playing the bridge.

403
00:23:57,600 --> 00:24:07,600
I'm playing the bridge.

404
00:24:07,600 --> 00:24:17,600
I'm playing the bridge.

405
00:24:17,600 --> 00:24:27,600
I'm playing the bridge.

406
00:24:27,600 --> 00:24:37,600
I'm playing the bridge.

407
00:24:37,600 --> 00:24:47,600
I'm playing the bridge.

408
00:24:47,600 --> 00:24:57,600
I'm playing the bridge.

409
00:24:57,600 --> 00:25:07,600
I'm playing the bridge.

410
00:25:07,600 --> 00:25:17,600
I'm playing the bridge.

411
00:25:17,600 --> 00:25:27,600
I'm playing the bridge.

412
00:25:27,600 --> 00:25:37,600
I'm playing the bridge.

413
00:25:37,600 --> 00:25:47,600
I'm playing the bridge.

414
00:25:47,600 --> 00:25:57,600
I'm playing the bridge.

415
00:25:57,600 --> 00:26:07,600
I'm playing the bridge.

416
00:26:07,600 --> 00:26:17,600
I'm playing the bridge.

417
00:26:17,600 --> 00:26:27,600
I'm playing the bridge.

418
00:26:47,600 --> 00:26:57,600
I'm playing the bridge.

419
00:26:57,600 --> 00:27:07,600
I'm playing the bridge.

420
00:27:07,600 --> 00:27:17,600
I'm playing the bridge.

421
00:27:37,600 --> 00:27:47,600
I'm playing the bridge.

422
00:28:07,600 --> 00:28:17,600
I'm playing the bridge.

423
00:28:37,600 --> 00:28:52,600
Produced by Williams Spear for the Roma Wine Company of Fresno, California.

424
00:28:52,600 --> 00:29:04,600
Suspense is broadcast from coast to coast and to our men and women overseas by shortwave and through the worldwide facilities of the Armed Forces Radio Service.

425
00:29:04,600 --> 00:29:20,600
This is CBS, the Columbia Broadcasting System.

