(78) Escape - Wild Oranges - (Van Heflin)

Summary

Podcast Summary:

Podcast: Harold's Old Time Radio
Episode: (78) Escape – Wild Oranges (Van Heflin)
Original Air Date: August 10, 2026
Main Theme:
This episode features the classic radio drama Escape with Van Heflin starring in “Wild Oranges,” based on Joseph Hergesheimer’s story. The drama immerses listeners in a tense tale of isolation, psychological terror, and human courage, set on the remote Georgia coast.

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Episode Overview

Wild Oranges invites its audience into a world teetering between tranquility and latent danger. John Woolfolk, seeking solitude and peace after personal tragedy, becomes embroiled in a suspenseful ordeal at an eerie, ruined plantation. It is a story of love, fear, and the fight for freedom from a malevolent threat.

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Key Discussion Points & Story Breakdown

1. Arrival at the Georgia Coast

• Setting the Scene (01:05)
  John Woolfolk, sailing along the lonely coast of Georgia to escape the world, anchors in a tranquil bay suffused with the scent of wild oranges:

  "The aroma of the wild oranges was overwhelming… I felt a vague uneasiness." (02:28)

• Discovery of Inhabitants
  After spotting a girl swimming and a ruined house, Woolfolk and his sailor, Halbert, realize the coast may not be as deserted as charts suggest.

2. First Encounter with Millie and Her Family

• A Place Steeped in Fear (05:08–06:08)
  Woolfolk meets Millie, the sheltered young woman living with her father. Their first exchange, shaped by tension and subtle hints of dread, is marked by Millie's nervous hospitality.

  Millie: "You won't like [the oranges]. They run wild. We can't sell them." (05:28)
  John Woolfolk: "[There’s] something else in your eyes... What is it? Fear." (08:42)
  Millie: "Fear? Why, no, of course not. What should I be afraid of?" (08:58)

• Introduction to Her Father
  The father, Litchfield Stowe, is frail and deeply paranoid, distressed by strangers:

  Stowe: "Strangers disturb him." (05:36), later acknowledging, "Just so we’re alone here. The man is away…" (07:42)

3. Atmosphere of Apprehension and Millie’s Isolation

• Revealing the Past (09:44)
  Millie confides her father’s history of fear stemming from his refusal to fight in the war, leading to their isolated life.

  Millie: "My father’s passed some of his fear onto me." (09:45)
  Millie: "I was born here… I’ve never been 50 miles away." (08:26)
  John Woolfolk: "You seem like a girl who’s been everywhere… but it’s the books, isn’t it?" (08:33-08:42)

• Woolfolk’s Affinity & Resolve
  Drawn to Millie, Woolfolk senses her need for rescue.

4. The Threat: Nicholas

• Violent Confrontation (13:54-15:16)
  Halbert, attacked by Nicholas—a brute of a man—warns Woolfolk of his danger:

  Halbert: “There’s an idiot in that house… a huge hulking brute… He came at me with a knife… He’s dangerous. Plenty dangerous.” (13:54)

• Nicholas’ Menace (15:16)

  “Don’t get me started… Put down that knife…” (15:16) — Nicholas, barely coherent, brandishing a blade.

5. Millie’s Desperation and the Secret

• Nicholas’ Hold on the Family (17:20–18:40)
  Millie confesses Nicholas is deranged, wanted for murder, and forcing her into an engagement under threat:

  Millie: “He says I must marry him…” (17:51)
  Millie (shows wanted poster): "'Wanted for murder. Nicholas... a homicidal maniac.'" (18:17)

  John Woolfolk: “Millie, I’m going to come for you tonight at 8… bring your father and walk out to the wharf.” (18:45–19:09)

6. Climactic Confrontation

• Deadly Encounter in the House (21:39–24:08)
  Woolfolk returns at night, discovers Millie’s father murdered by Nicholas, and faces Nicholas in a hand-to-hand fight in total darkness.

  John Woolfolk: “We were grappling, hand in hand… my strength and wit against the massive bulk of a maniac...” (21:57)

• Millie Walks Past Danger

  Millie: “I had to walk right past him. There was no other way. Right past his head and my skirt.” (23:36)

7. Escape and Resolution

• The Final Flight (24:48–29:25)
  Woolfolk, Millie, and Halbert attempt to flee amid a raging storm, but Nicholas gives chase to the boat.

  Halbert vs. Nicholas: Halbert confronts Nicholas and buys time for the group to escape (25:03–26:13), with tension and courage from all sides.

• Millie’s Triumph at the Helm (28:41–29:25)
  As Halbert slumps, wounded, Millie takes the wheel, guiding the boat through the dangerous passage:

  John Woolfolk: “It wasn’t Halbert at the wheel. It was Millie. Her hands steady, her eyes washed clear of any madness. Millie, with a little tight smile on her face but no fear.” (28:41)

  Millie: “I’ll learn, John. I’ll learn.” (29:25)

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Memorable Quotes & Moments

• Atmosphere of Unease:
  "That was all. A fragment of commonplace conversation. But it was enough... There’d been a hidden terror, a terrible controlled fright." (06:08, John Woolfolk)

• Root of Fear:
  "My father’s passed some of his fear onto me... None of us has ever left this lonely place. Never will, perhaps." (09:45, Millie)

• Revelation:
  "He says he’s crazy about me. He says I must marry him." (17:51, Millie)
  “Wanted for murder. Isaac Nicholas, a homicidal maniac.” (18:17, Millie)

• Climax:
  "We were grappling hand in hand, rolling on the floor, kicking, tearing, gouging, crushing my strength and wit against the massive bulk of a maniacal..." (21:57, John Woolfolk)

• Millie Empowered:
  "It wasn’t Halbert at the wheel. It was Millie. Her hands steady, her eyes washed clear of any madness. Millie, with a little tight smile on her face but no fear." (28:41, John Woolfolk)

• Closing Reflections:
  “No, not yet. But I’ll learn, John. I’ll learn.” (29:25, Millie)

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Notable Timestamps for Major Segments

• 00:55: Opening scene/setting
• 05:08: First conversation between John Woolfolk and Millie
• 07:25: Introduction of Millie’s father
• 09:44–11:17: Millie's personal history and emotional depth
• 13:54–15:44: Confrontation with Nicholas, Nicholas revealed as a threat
• 17:20–18:40: Millie’s confession about Nicholas’ past and intentions
• 21:39–24:08: Climax: Fight with Nicholas, father’s death
• 24:48–29:25: Escape through storm, Millie at the helm
• 29:25: Emotional resolution and end of drama

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Tone and Language

The dialogue retains the period’s formal, descriptive cadence, with underlying tension and emotional restraint, culminating in moments of high drama and catharsis.

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Wild Oranges on Escape delivers a suspenseful, atmospheric narrative that combines isolation, dread, and the transformative power of human connection. Van Heflin and cast offer gripping performances, making this vintage episode a standout in Golden Age radio drama.

Transcript

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[John Woolfolk]

One week from tonight, October 5, you bet yout life starring Groucho Marx will be heard at this time over most of these same C stations we offer you Escape, starring Van Heflin. Escape, designed to free you from the four walls of today. For a half hour of high adventure. You are trapped in the dank darkness of a ruined plantation house. Somewhere in the pitch black room is a homicidal maniac armed with a knife, groping for you, trying to prevent your escape. Tonight with Van Heflen as John Woolfolk, we escape to a deserted sand pit off the coast of Georgia where terror stalks under the Spanish moss. As Joseph Hergesheimer tells it in Wild Oranges. What could have appeared more innocent of danger than that barren, low lying shore of southern Georgia? What could have seemed less laden with terror than that lovely little cove, so tranquil and well sheltered, so warmly bathed in late afternoon sun as we dropped the anchor of our catch and prepared our mooring. And yet there was something. First it was an aroma. A grove of wild orange trees in late bloom grew defiantly amid the tangled undergrowth of the shore. The scent was strong and exotic and heady, and as I smelled it I felt a vague uneasiness. Then, as I watched the shore and Halbert, my sailor, unfurled the sails, the mirror of the COVID was shattered by a movement. At first I thought it was a fish leaping and playing in the water, came round a spit of land from an inner bay. And then Halvard was beside me. That's queer, sir. I would have bet there was nobody within miles of here. But that's someone swimming. Yes. That's a girl. Aye, sir. She'll be surprised when she discovers us. No doubt. And embarrassed. She swims well, doesn't she? Yes, sir. She had been born in the water. Oh, she's seen us. Yes. Yes. Now she's running away. May, that sprint would win an Olympic race, huh? Yes, sir. I wonder what she's doing here, where she comes from. Perhaps there, sir. Where? Through the trees. There's a house there. You can hardly see it. I spotted it a moment ago. Yes, sir, there is. I know, but it's a ruin. It's rotting away. No one could have lived in that since the Civil War. There may be others back there, sir. I know, but this is a deserted coast as marked as a swamp on the chart. Well, I don't know, sir. This is strange. It's very strange. Yes, it was strange. And stranger still was this vague uneasiness that I felt as twilight fell. The aroma of the wild orange juice was overwhelming. And suddenly, without knowing why, I slipped on my jacket and went to the side and dropped into the tender. Halbert stood by to cast off. He asked no questions, and I said nothing. What could I say? I didn't know myself why I was going. I pulled the tender up on the soft sand of the beach and walked up a dim path through the orange grove. Around the side of the house where smaller portico held off the weeds. A single doorway was framed in the pale light of the inner lamp. As I approached, I saw a shadow flit across it so swiftly, so furtively, that it was gone before I realized it had been a man. And then I saw her sitting on the portico, rocking softly in her chair.

[Millie]

What do you want?

[John Woolfolk]

Oh, nothing. I came ashore. I. I thought no one was living here.

[Millie]

You're from the white boat that sailed in at sunset?

[John Woolfolk]

Yes, and I'm returning immediately.

[Millie]

It was like magic. Suddenly, without a sound. You were anchored in the bay.

[John Woolfolk]

Well, I've robbed you too. I. I picked a couple of your oranges.

[Millie]

You won't like them. They run wild. We can't sell them.

[John Woolfolk]

They have a distinct flavor. I should be very glad to have some of them on the boat.

[Millie]

All you want.

[John Woolfolk]

Well, my man will get them and pay you.

[Millie]

Please don't. Nicholas attends to that. Won't you sit down? My father was here when you came up, but he went in. Strangers disturb him.

[John Woolfolk]

I should be getting back. I'm sorry to have disturbed you and your father.

[Millie]

No, it's nothing.

[John Woolfolk]

Well, good night then.

[Millie]

Good night.

[John Woolfolk]

That was all A fragment of commonplace conversation. But it was enough. Now. The uneasiness I felt, the strangeness of this place took shape for me. I saw it in her lovely, fragile face. I heard it in her voice. There'd been a hidden terror, a terrible controlled fright that approached hysteria. When I got back to the boat, Halberd made it even worse. Find anything, sir? There are people living there. Well, there'll be water. Then maybe we can stay here for a couple of days. What do you mean? This is good anchorage. I'd like to unship the propeller and there's some scraping to do. Yes, I suppose you're right. We need a couple of days of work before we head into the open sea. Yes, sir. Oh, we'll do it here. And so we stayed. In the light of morning, the strange dread I had felt seemed foolish. And especially when I went ashore and found the girl looking young and fresh and fragile. She was fishing off a little pier in the inner bay. She had a pathetic little rod and reel. And so I got our tackle from the boat and landed a big rockfish for her. Enough for several dinners. We were carrying the fish to the house when we came on. A pale, thin ghost of a man. He's sitting on the portico. He started a swift retreat, but it was too late.

[Millie]

Father Wade, this is my father, Litchfield Stowe.

[John Woolfolk]

Oh, how do you do, sir? Mary, you know, I. Strangers.

[Millie]

Father, you know I wouldn't bring anyone to the house who would hurt us. And see, we're fetching you a splendid rock fish.

[John Woolfolk]

Yes, Just so we're alone here. The man is away. My daughter and I. Fish. Acceptable.

[Millie]

If you'll carry it in for me. Nicholas would do it, but he's away and Father isn't strong. This way. We have no ice. I must put it in water. In here. Right there. Thank you. You've been very nice. Now I suppose you'll go on across the world.

[John Woolfolk]

Why not tonight? We're staying here making repairs.

[Millie]

Where do you come from? Where are you going?

[John Woolfolk]

From Cape Cod. I'm going to South America.

[Millie]

South America? I've traveled on maps. I was born here in this house. I've never been 50 miles away.

[John Woolfolk]

You seem like a girl who's been everywhere. Everywhere in the world. You've had the best education. Everything.

[Millie]

My father has many books in there, that's all.

[John Woolfolk]

You're. You know, your eyes are remarkable magnetic. I. Well, there's something else in your eyes and in your voice. What is it? Fear.

[Millie]

Fear? Why, no, of course not. What should I be afraid of?

[John Woolfolk]

Well, I don't know. But I saw it in your father's face, too.

[Millie]

It's only your imagination.

[John Woolfolk]

Yes, no doubt. Well, goodbye then. And thank you for the fishing. Strange how this girl with a upset me, so I tried to resist. But that evening I found myself going back to her. Tying the tender into the little pier. I. I watched her as she came to meet me.

[Millie]

I'm glad you came. Let's stay here by the seats. So lovely in the moonlight.

[John Woolfolk]

All right. Oh, it is nice here, isn't it?

[Millie]

Nicholas is back.

[John Woolfolk]

Nicholas.

[Millie]

He's our man. I lied to you today. About fear. I suppose I am afraid. I suppose my father's passed some of his fear onto me.

[John Woolfolk]

Why is he afraid?

[Millie]

Well, it's a long story going back to the first war. He was a young man then. And he didn't go to war. It wasn't that he was a coward exactly. He just couldn't adjust to it mentally. People laughed at him, threatened him. And that's when a sort of. Sort of perpetual fear started. He ran away. Met my mother and married and they came here. None of us has ever left this lonely place. Never will. Perhaps.

[John Woolfolk]

And your mother?

[Millie]

She's dead. Loneliness killed her. Perhaps. It's no wonder that I sound timid and afraid. Perhaps I am.

[John Woolfolk]

Aren't you lonely, too?

[Millie]

I don't know anything else. But what about you? Who are you that you go sailing about the world? Only a sailor for company.

[John Woolfolk]

No. I'm nobody. My name is John Woolfolk.

[Millie]

And you do nothing but sail about the world?

[John Woolfolk]

Nothing. Nothing.

[Millie]

Why?

[John Woolfolk]

Oh, well. Let's say that I. I don't like modern society. Let's say that I. I don't like entanglements.

[Millie]

I see.

[John Woolfolk]

Oh, no, no. I didn't mean that.

[Millie]

I envy you your freedom. I sit here a great deal and watch the ships. Far out there on their water roads. You are enviable sailing where you like. Safe and free. Safe? Free.

[John Woolfolk]

There's something more than you've told me. There's more behind this fear in your voice.

[Millie]

No.

[John Woolfolk]

Look. Perhaps I can help you.

[Millie]

No.

[John Woolfolk]

No.

[Millie]

Please.

[John Woolfolk]

What's that?

[Millie]

It's Nicholas blowing on the conch. I've got to go in.

[John Woolfolk]

Wait a minute. Come with you?

[Millie]

Please. No, no, don't come. You. You'll be going soon.

[John Woolfolk]

Tomorrow perhaps. Then.

[Millie]

Goodbye. Goodbye.

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[John Woolfolk]

Now I knew the terror that I had only sensed was real. This girl was possessed by fear. This house held some terrible secret.

[Millie]

What?

[John Woolfolk]

What could it be? Next morning, Halford went in to fill a cask for water. He came back without the cask and he was livid with rage. There's an idiot in that house. Sir. Next time I'll take the pistol. What do you mean? Where's the cask? It's broken, sir. How. How did you. I was filling it at the cistern and this idiot, a huge hulking brute, came out of the house. He told me to get away. Well, I tried to explain we had permission. But he came at me with a knife, Gibbering, he put his foot on the cask and crushed It. Well, I'll see about this. Be careful, sir. The man's not quite right. He's dangerous. Plenty dangerous. I went ashore and around at the back door of the house, Millie wasn't in sight. When I knocked, a lumbering giant with pig like eyes came to the door. Are you Nicholas? What do you want? Well, I take it you're the man who broke my water cask. It was full of our water. I'm not going to argue with you. I came ashore to instruct you to keep your hands off of my property and my sailor and let our water be. I told you that I, I, I wouldn't discuss the water. I don't have to justify myself to you. Just remember, keep your hands off. Don't get me started. What do you mean, started? I don't care what you. Don't get me started, mind now, I want you. Don't get me started. Put down that knife. Go away. Don't get me started.

[Millie]

Now.

[John Woolfolk]

Go away. Stand back. Don't get me started. Nicholas.

[Millie]

Nicholas, stop. What is this? What's the matter?

[John Woolfolk]

Well, nothing. Nicholas and I had a little misunderstanding, that's all. You tell this man, Milly, tell him to go and don't get me started.

[Millie]

Nicholas, put down that knife. Mr. Wolfert, please. Please go.

[John Woolfolk]

I have never seen such terror in a woman's eyes. I felt completely helpless as I turned. I went on back to the boat. But mingled with her terror, I'd seen something else in Millie's eyes. There was a plea. And I knew there'd be another meeting between me and Nicholas. That night a storm broke, a raging wind and rain to match my tortured mood. I hardly slept. Millie's face was always before my eyes. And by morning I knew that I must do something. I rode the tendril and through a drizzling rain I went up through the orange grove and stopped in some bushes by the house. Someone was coming out of the house and so I crouched down out of sight. It was Millie. I rose and I called to her.

[Millie]

Millie. Oh.

[John Woolfolk]

Oh, it's you.

[Millie]

I was just coming out to look. I was afraid you'd gone out to seas like a pack of wolves.

[John Woolfolk]

I won't go alone now. You. Not without you, I won't.

[Millie]

What are you saying? That's madness.

[John Woolfolk]

No, no. I got to talk to you. There's a lot. There's a lot that needs explaining. Things that I have a right to know.

[Millie]

No, not here. Come.

[John Woolfolk]

She led me into one of the smaller ruined buildings. We crouched far back in the dripping shadows of a Corner. No, Millie. For the first time in 12 years, I'm living again. Darling, I'm in love with you.

[Millie]

I know nothing of love.

[John Woolfolk]

It's quickly learned. Millie, don't you feel anything? Anything for me at all?

[Millie]

I don't know. Perhaps if things were different someplace else, I might care very much.

[John Woolfolk]

But I'm going to take your someplace else. I'm going to make things different. I'm going to give you a chance.

[Millie]

Oh, no. It's too late. You came too late.

[John Woolfolk]

Why, Millie, what. What is this? What is this fear?

[Millie]

Nicholas.

[John Woolfolk]

Oh, that's foolish. He's nothing to be afraid of. Has he been bothering you?

[Millie]

He says he's crazy about me. He says I must marry him.

[John Woolfolk]

Where is he now?

[Millie]

Oh, no, John, you mustn't. Something frightful would happen.

[John Woolfolk]

Not frightful, just unfortunate for Nicholas.

[Millie]

But you don't understand. He's. He's not human. There's something about him.

[John Woolfolk]

What about him? Tell.

[Millie]

He came here in April. We were glad to get him. Servants are impossible to get back here in the wilderness and he'd work for the smallest wages. Only a few days ago, I found out why he was glad to be here. I was cleaning his room and I found this.

[John Woolfolk]

Let me see that. Wanted for murder. Isaac. Nicholas, a homicidal maniac, knows I found it.

[Millie]

He knows. And he's been furious. And then you came and he ran and hid in the pines. But he told me if I spoke about him, it would happen to me. And if I left with you, it would happen to Father. Now he thinks I'm in love with you. He told me to send you away. He said you must leave today.

[John Woolfolk]

Millie. Millie. I should have realized this.

[Millie]

But I'm not to stay away for longer than now. I must go.

[John Woolfolk]

Look, Millie, it'll take us a couple of hours to get our boat ready. I'm going to come for you tonight at 8. Now, you tell him that you saw me and I promised to go. Act quietly. Say that you were upset, that you'll give him his answer tomorrow. Then at 8, you bring your father and walk out to the wharf. Now, that's all. But do it without hesitation or preparation.

[Millie]

Don't let him hurt us. Please don't.

[John Woolfolk]

Not now. He's finished. But do just as I say. It won't be long. Hardly three hours. And then you're gonna be free. Now that I knew now that there was to be action, I felt better. Not that I minimized the risk. Halvard and I got the catch ready for sailing at 8 o' clock. Halbert and I tied up to the little pier. The storm had let up a little, but it was still raining. I got up on the dock and I waited for Millie. 10 minutes passed, and then 20. Something was wrong. I. I told Halbert to wait there with a tender. Then I walked slowly up to the house. It was dark. I went up to the side porch to go to the heavy door. It was a tiny crack of light showing under it. I. I pushed it open. The light came from a parlor to the right. I looked in. On the floor lay a body. Her face. He was dead. He was crushed. His arm twisted grotesquely under him. There was. There wasn't a sound in the house. Slowly, I walked through the downstairs rooms. Nothing. Then, back in the hall, I heard a slight creak. Upstairs. Someone moved. Was it Millie alive? Or was it Nicholas, lying in wait? I groped slowly up the stairs. I didn't dare to use my flashlight. It would have made me a target for his knife. The upstairs hall was pitch black. Still, there was no sound. I inched my way along the wall slowly. And then I stumbled on a loose board. The pistol flew out of my hand, but the stumble saved my life. At the same instant, I felt Nicholas lunge, heard the knife sing past my ear and thud into the wall. I felt his great bolt smashing on my shoulder. My gun was somewhere on the dark floor. His knife was embedded in the wall. Now we were grappling hand in hand, rolling on the floor, kicking, tearing, gouging, crushing my strength and wit against the massive bulk of a maniacal. How many minutes did that unusual and unequal struggle last? I don't know. It seemed an hour, several times, as if by common consent. We rested for a minute at a time. Once we rolled apart and lay panting, breast aching in my throat. Huh? And then I. I heard him groping along the wall, searching for the knife or gun. I threw myself at him again. He was too big. He was too furious. I felt my strength ebbing away. His fingers were closing over my throat. With one last ever, I tried to throw him off to roll. I staggered to my feet. I was dazed. I. I looked up. We had fallen through the banister down the stairwell. Nicholas had landed on the bottom. He lay there on the stairs, sprawled, his head at a grotesque angle. He wasn't dead. He's only stunned. I. I leaned against the wall, looking at him stupidly. There was. There was something that I must remember. What was it then? Then she came down the steps. And I. I remembered Millie.

[Millie]

I had to walk right past him. There was no other way. Right past his head and my skirt. I think we better go away.

[John Woolfolk]

Oh, yes, yes, we'll. We'll leave at once.

[Millie]

I must tell you about my father. You know, in Virginia, the women tied an apron on the door because he wouldn't go to war. And that preyed on his mind. And he was afraid of the slightest thing.

[John Woolfolk]

Yes, yes, I know, but we. We must go.

[Millie]

Things upset him so. He had no strength.

[John Woolfolk]

To hear her talk like this, like a sick child, was almost more than I could bear. Then. Then I heard something. Nicholas had got up. He stood up and stared at us for a moment. And then he started slowly up the stairs. He was going after that knife.

[Millie]

The least little thing upset him.

[John Woolfolk]

Millie. Millie, look, we've got to go.

[Millie]

I was to meet a man. We were going away someplace where it would be peaceful. But Nicholas suspected, you see. He asked why Father had put on his heavy winter clothes. And then when I tried to go out, he pushed me. And do you know what Father did then? He came up and said, don't do that. Take your hands off my daughter. His lips shook a little, but he said it. That's the important thing.

[John Woolfolk]

Yes, of course. Your father was a brave man after all. But please, now, come. You were supposed to meet a man. That man's waiting for you. There's no time to lose.

[Millie]

Father said, take your hands off my daughter. Nicholas killed him, of course, but it was a brave thing to do.

[John Woolfolk]

Yes. Now come. I couldn't wait any longer. I could hear Nicholas coming back. I picked her up and carried her out into the night down the path to the pier. Behind me, I could hear Nicholas crashing through the brush like a giant animal in pursuit. Are you all right, sir? Yes, I'm about done in, but I'm all right. Here, help me. Help me get her into the boat. Yes, sir. There's someone coming, sir. This is Nicholas. He's got a knife. Good. I wanted to get back at him. You get in, sir. I'll take care of him. All right. How about. I. I wouldn't be much help anyway. Halbert went to intercept Nicholas on the path. I heard them meet and struggle for a moment. And then a figure came walking slowly, stooped onto the pier. I got ready to shove the boat out into the water and then. It's all right, sir. It's me. How. Where's Nicholas? I stopped him. He was all bumped out. Are you hurt? It was just a scratch, sir. I missed his hand at first in the dark.

[Millie]

It's nothing.

[John Woolfolk]

Good. Well, let's get away from here. Then. I held Millie in my arms as Halbert rode to the catch erratically, I suppose because of the storm. Be ready to cast off in two minutes. The last obstacle would be the narrow passage out of the COVID In this storm, it would be very dangerous. I. I started to take Millie into the cabin.

[Millie]

No. There's Nicholas in the doorway.

[John Woolfolk]

Nonsense. Nicholas is dead. You're on my boat. You're safe, Millie.

[Millie]

Safe with John Wolfer.

[John Woolfolk]

I am John Wolfer.

[Millie]

But he.

[John Woolfolk]

He.

[Millie]

You didn't come.

[John Woolfolk]

Yes, I came. Nelly, you're safe. Please come.

[Millie]

I'd rather stay up here.

[John Woolfolk]

All right, all right. You sit here beside Halford. I'm going up front to take soundings in this wind. You won't be able to hear me if I call. No, but you're going to hear me. Remember, we only have three foot clearance.

[Millie]

Now you.

[John Woolfolk]

You'll have to hold it steady through that passage. Yes, sir. Halford, now this is no time to be brave. How do you feel? I feel all right, sir. I've taken knives before. All right, just a scratch. All right, fine. Now we'll fix it just as soon as we get outside.

[Millie]

Right.

[John Woolfolk]

Now let's go. Pull up your anchor and turn over the engine. Yes, sir. The boat headed into the tearing wind of the storm, straight toward the narrow inlet. A foot too far on either side and we'd hit. In this sea, that would mean death for all of us. I stood far up on the bow, taking soundings, feeling out the passage. Howling wind carried the call back to Halvard.

[Millie]

Forward.

[John Woolfolk]

Now. The boat veered again. I realized that he must have lost an awful lot of blood.

[Millie]

Halbert. Halbert Siddir.

[John Woolfolk]

Slowly, haltingly, it came around

[Millie]

three and a half. Steady now.

[John Woolfolk]

But it was anything but steady. The boat wavered and swung as if an inexperienced hand was at the wheel. In a moment we might hit three and a quarter. We were in the passage.

[Millie]

Hold steady, Halbert. Steady.

[John Woolfolk]

Three and a half. Halfway through.

[Millie]

Good boy, Albert. Good boy.

[John Woolfolk]

Good boy, Albert. I called. But when I went back it wasn't Halbert at the wheel. It was Millie. Millie. Her hands steady, her eyes washed clear of any madness. Millie, with a little tight smile on her face but no fear. And Halberd lay rolling with the swells in the bottom of the cockpit.

[Millie]

I'm afraid, John, he was wounded worse than you thought.

[John Woolfolk]

Oh, Howard. Good heavens.

[Millie]

He told me to take the wheel. Said it was life or death. And then he slid down like that.

[John Woolfolk]

When? When was this?

[Millie]

Back there in the passage, just when you said three and a half, I'm afraid I wasn't very good, but I held on.

[John Woolfolk]

Oh, Millie, you were wonderful.

[Millie]

No, not yet. But I'll learn, John. I'll learn.

[John Woolfolk]

Escape was produced and directed by Gordon T. Hughes with Van Heflin starring as John Woolfolk. Tonight we have presented Wild Oranges by Joseph Hergesheimer, adapted for radio by John Dunkle. Featured in the cast were Betty Lou Gerson, Bill Conrad, Edmund McDonald, Wilms Herbert. Special music was conceived and conducted by Del Castillo. Next week you are following a man whom you must kill to the bleak wastes of the tiny island at the bottom of the world. And you know that one of you can never escape. Next week we escape with John Russell's grim story of revenge, the Primitive Good night then. Until next week when once again we offer you Escape. Van Heplin is currently starring with Jennifer Jones, James Mason and Louis Jordan in Metro Golden Mayor's Madame Bovary. Starting one week from next Saturday, October 8, Escape will take a regular place in the CBS Saturday night schedule. That's one week from next Saturday, October 8th, Escape. Next week at this time, you will hear CBS's latest addition to its fine Wednesday night shows, you Bet yout Life, starring Groucho Marx. This outstanding comedy quiz, highlighted by Groucho's fast ad libs, has won a Peabody Award and a high place in America's comedy favorites. Next Wednesday, it joins the parade on CBS where it will be heard along with the Bing Crosby show and Burns and Allen on most of these same CBS stations. Stay tuned now for the Bing Crosby show, which follows immediately over most of these same stations. Paul Masterson speaking. This is cbs, the Columbia Broadcasting System.

[Sponsor/Announcer]

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