WEBVTT

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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.

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

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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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I didn't want her dead now, but I had to follow it through.

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Had to work fast.

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Alf was coming forward at seven.

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He'd find her body.

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Maybe they'd try to hang it on him.

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That was a laugh.

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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.

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

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I opened a broom closet and got out a stepladder.

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I set the ladder up and climbed to the top of it, feeling dizzy.

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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.

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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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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?

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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.

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I head out the back way.

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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.

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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.

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

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Maybe not though.

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People there don't look out through those dirty windows any oftener than they have to.

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

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I got on with the others.

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Lost in the crowd.

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I walked through just like all the commuters.

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Took the first good empty seat I found.

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A whole seat to myself.

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Mind if I sit here?

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What?

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Oh, no, no.

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I just thought maybe your wife.

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Wife?

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Well, that may be that you were holding this seat for somebody.

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Oh, no, no.

11:11.480 --> 11:12.480
No, it's okay.

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Oh, thanks.

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Well, say this suits me.

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You know, I don't like it when there isn't somebody to talk to.

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Yes, sir.

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My name's Elmer Russell.

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What's yours?

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You must not ride on the trains very much.

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You guessed it.

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From what I hear, people don't meet up with each other very much.

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Not on these commuting trains.

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I only use them since I'm working nights.

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I used to drive them.

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What was your name now?

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Hey, hey, what'd you do to your hand?

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My hand?

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What?

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Well, you must have cut yourself.

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Look, it's all covered.

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Oh, yeah, yeah.

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Well, excuse me.

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Just saw a friend of mine going in the car ahead.

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I wanted to see him on a matter of...

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I rushed on out of the car.

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My heart pounding.

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I went in and washed my hands.

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Out of all the passions on that train, I had to get beside somebody who didn't have

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the commuters habit.

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And blood on my hands.

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Well, what was the difference?

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Nobody ever questioned him about me.

12:01.600 --> 12:02.600
The train lurches.

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I started down the island.

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The next smoker.

12:04.600 --> 12:05.600
Hey, hey, watch it.

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What's the big idea?

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I'm sorry.

12:07.600 --> 12:08.600
The train give a lurch.

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Sorry.

12:09.600 --> 12:10.600
Well, you don't have to cry about it.

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Just watch it.

12:11.600 --> 12:12.600
Yeah.

12:12.600 --> 12:13.600
Hey, hey, wait.

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What?

12:14.600 --> 12:15.600
Help me pick up these dominoes.

12:15.600 --> 12:16.600
Oh, go on.

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Chase yourself.

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Hey, come back here.

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What's the big idea?

12:19.600 --> 12:20.600
Gee, I should have helped him pick them up.

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He'd remember.

12:21.600 --> 12:22.600
He'd remember that my being rude.

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Maybe not, though.

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Commuters are used to rudeness.

12:24.600 --> 12:25.600
I hurry down to the next car.

12:25.600 --> 12:26.600
They shut the door behind me and leaned back against it, feeling weak and dizzy.

12:26.600 --> 12:27.600
People near me looked up and stared at me.

12:27.600 --> 12:28.600
I must have looked pretty sick judging from the way I felt.

12:28.600 --> 12:29.600
I grabbed the first vacant seat and fell into it.

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Wow, look what just dropped down from the sky.

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Hey, can't keep us from having that pork, can they?

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Well, what's your limit, friend?

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10 percent a point?

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Now, don't tell us you don't play bridge.

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I'm not playing bridge.

12:35.600 --> 12:36.600
I'm playing the bridge.

12:36.600 --> 12:37.600
I'm playing the bridge.

12:37.600 --> 12:38.600
I'm playing the bridge.

12:38.600 --> 12:39.600
I'm playing the bridge.

12:39.600 --> 12:40.600
I'm playing the bridge.

12:40.600 --> 12:41.600
I'm playing the bridge.

12:41.600 --> 12:50.600
I'm playing the bridge.

12:50.600 --> 12:59.600
I'm playing the bridge.

12:59.600 --> 13:06.600
I'm playing the bridge.

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I'm playing the bridge.

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I'm playing the bridge.

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I'm playing the bridge.

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I'm playing the bridge.

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I'm playing the bridge.

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I'm playing the bridge.

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I'm playing the bridge.

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I'm playing the bridge.

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I'm playing the bridge.

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I'm playing the bridge.

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I'm playing the bridge.

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I'm playing the bridge.

14:44.600 --> 14:53.600
I'm playing the bridge.

14:53.600 --> 15:04.600
I'm playing the bridge.

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I'm playing the bridge.

15:18.600 --> 15:28.600
I'm playing the bridge.

15:28.600 --> 15:35.600
I'm playing the bridge.

15:35.600 --> 15:46.600
I'm playing the bridge.

15:46.600 --> 15:55.600
I'm playing the bridge.

15:55.600 --> 16:07.600
I'm playing the bridge.

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I'm playing the bridge.

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I'm playing the bridge.

16:21.600 --> 16:29.600
I'm playing the bridge.

16:29.600 --> 16:37.600
I'm playing the bridge.

16:37.600 --> 16:47.600
I'm playing the bridge.

16:47.600 --> 16:57.600
I'm playing the bridge.

16:57.600 --> 17:07.600
I'm playing the bridge.

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I'm playing the bridge.

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I'm playing the bridge.

17:27.600 --> 17:37.600
I'm playing the bridge.

17:37.600 --> 17:47.600
I'm playing the bridge.

17:47.600 --> 17:57.600
I'm playing the bridge.

17:57.600 --> 18:07.600
I'm playing the bridge.

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I'm playing the bridge.

18:17.600 --> 18:27.600
I'm playing the bridge.

18:27.600 --> 18:37.600
I'm playing the bridge.

18:37.600 --> 18:47.600
I'm playing the bridge.

18:47.600 --> 18:57.600
I'm playing the bridge.

18:57.600 --> 19:07.600
I'm playing the bridge.

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I'm playing the bridge.

19:17.600 --> 19:27.600
I'm playing the bridge.

19:27.600 --> 19:37.600
I'm playing the bridge.

19:37.600 --> 19:47.600
I'm playing the bridge.

19:47.600 --> 19:57.600
I'm playing the bridge.

19:57.600 --> 20:07.600
I'm playing the bridge.

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I'm playing the bridge.

20:17.600 --> 20:27.600
I'm playing the bridge.

20:27.600 --> 20:37.600
I'm playing the bridge.

20:37.600 --> 20:47.600
I'm playing the bridge.

20:47.600 --> 20:57.600
I'm playing the bridge.

20:57.600 --> 21:07.600
I'm playing the bridge.

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I'm playing the bridge.

21:17.600 --> 21:27.600
I'm playing the bridge.

21:27.600 --> 21:37.600
I'm playing the bridge.

21:37.600 --> 21:47.600
I'm playing the bridge.

21:47.600 --> 21:57.600
I'm playing the bridge.

21:57.600 --> 22:07.600
I'm playing the bridge.

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I'm playing the bridge.

22:17.600 --> 22:27.600
I'm playing the bridge.

22:27.600 --> 22:37.600
I'm playing the bridge.

22:37.600 --> 22:47.600
I'm playing the bridge.

22:47.600 --> 22:57.600
I'm playing the bridge.

22:57.600 --> 23:07.600
I'm playing the bridge.

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I'm playing the bridge.

23:17.600 --> 23:27.600
I'm playing the bridge.

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I'm playing the bridge.

23:37.600 --> 23:47.600
I'm playing the bridge.

23:47.600 --> 23:57.600
I'm playing the bridge.

23:57.600 --> 24:07.600
I'm playing the bridge.

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I'm playing the bridge.

24:17.600 --> 24:27.600
I'm playing the bridge.

24:27.600 --> 24:37.600
I'm playing the bridge.

24:37.600 --> 24:47.600
I'm playing the bridge.

24:47.600 --> 24:57.600
I'm playing the bridge.

24:57.600 --> 25:07.600
I'm playing the bridge.

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I'm playing the bridge.

25:17.600 --> 25:27.600
I'm playing the bridge.

25:27.600 --> 25:37.600
I'm playing the bridge.

25:37.600 --> 25:47.600
I'm playing the bridge.

25:47.600 --> 25:57.600
I'm playing the bridge.

25:57.600 --> 26:07.600
I'm playing the bridge.

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I'm playing the bridge.

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I'm playing the bridge.

26:47.600 --> 26:57.600
I'm playing the bridge.

26:57.600 --> 27:07.600
I'm playing the bridge.

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I'm playing the bridge.

27:37.600 --> 27:47.600
I'm playing the bridge.

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I'm playing the bridge.

28:37.600 --> 28:52.600
Produced by Williams Spear for the Roma Wine Company of Fresno, California.

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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.

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This is CBS, the Columbia Broadcasting System.

