Escape and The Six Shooter

Summary

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The Relic Radio Show – "Escape: The Sure Thing" & "The Six Shooter: The Double Seven"

Episode Date: November 25, 2025
Podcast: The Relic Radio Show (RelicRadio.com)
Host: RelicRadio.com

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Episode Overview

This episode of The Relic Radio Show unearths two gems from radio's golden age:

• “The Sure Thing” from Escape (aired October 15, 1949) – A suspenseful adventure set aboard a Caribbean schooner involving deception, danger, and a hidden fortune.
• “The Double Seven” from The Six Shooter (aired May 13, 1954) – A Western morality tale with James Stewart as Britt Ponsett, caught in a simmering conflict between ranchers and farmers.

Relic Radio’s host guides listeners through 60 minutes of classic radio drama that “still stands the test of time.”

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Segment 1: Escape – "The Sure Thing"

Original Air Date: October 15, 1949
Starts at 00:11

Main Theme

A seemingly routine SOS pulls a ship's doctor into a web of greed, lies, and murder as he tends to a wounded man on a mysterious schooner in the Caribbean. The promise of two million dollars lies at the heart of intrigue, betrayal, and deadly intentions.

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Key Discussion Points and Insights

• Setting the Scene

  • [00:11] Host introduces "The Sure Thing", framing Escape as a program designed to "free you from the four walls of today for a half hour of high adventure."
  • [01:13] The story opens aboard a lonely schooner in the Caribbean night, with a fortune and a cast driven by "heedless passions of reckless men."

• Ship’s Doctor Answers an SOS

  • [01:57] A mysterious SOS leads the ship’s doctor to board the schooner, Sidon, to treat an “accident case.”
  • [02:59] "SOS latitude 23 north longitude... Accident case on board schooner Sidon... Urgently need Doctor."
    • The urgency and ambiguity set a tone of unease.

• Suspicion and Deception

  • [05:44] The doctor discovers the patient’s wound is from a bullet, not the supposedly accidental fall with a marlinspike.
  • [06:01] “You're like a parrot I used to own – your sea talk is too glib.” – Doctor (to Stephanie)

• The Doctor Becomes Involved

  • [07:47] The doctor realizes he is being lied to by everyone aboard—the owner Felix, the patient Joseph, and Joseph’s "secretary" Stephanie.
  • [09:49] Attempted murder: The doctor is nearly shot while adjusting the schooner's course.

• Unraveling the Plot

  • [15:19] Stephanie confesses that Felix shot Joseph in a fit of rage and forced her to lie.
  • [16:24] The wounded man Joseph Ingram is revealed to be an aviation tycoon presumed dead in a recent plane crash—he’s escaping indictment for war contracts by faking his death.
  • [17:22] Stephanie claims she was forced along as the only one who knew Joseph was alive.

• The Fortune

  • [20:28] The motivation becomes clear: $2 million in a bearer draft hidden on the boat, with ever-shifting alliances and murder attempts as the stakes.

• Climax and Resolution

  • [21:08–24:00] A fight breaks out; Felix is tossed overboard, and Stephanie offers to partner with the doctor. He refuses.
  • [23:23] Joseph confronts Stephanie. Both tumble overboard in a death struggle, each trying to secure the fortune.
  • [24:22] The doctor finds the $2 million draft hidden in the heel of Joseph's shoe.

• Bitter Irony

  • [26:37] In Havana, Joseph's wife exposes the doctor's involvement; nobody believes his tale. A "sure thing" turns into a murder accusation, showing that greed inevitably leads to one's downfall.

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Notable Quotes & Memorable Moments

• On Suspicion:

  • “You're like a parrot I used to own – your sea talk is too glib."
    – Doctor, 06:01

• On the Motivation:

  • “Two million dollars. Now it began to make some sense. Now everything made sense.”
    – Doctor, 20:53

• On Betrayal & Greed

  • “You wanted too much, Stephanie. My money and Felix's.”
    – Joseph, 23:22

• Cynical Closing:

  • "It had seemed like such a sure thing. And it was murder. Payable to bearer."
    – Doctor, 27:36

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Important Timestamps

• 00:11 – Host introduces the episode and Escape.
• 01:57 – Doctor boards the mysterious schooner.
• 05:44 – Doctor discovers the wound is a gunshot.
• 09:49 – Doctor nearly shot; realizes course is set away from Havana.
• 15:19 – Stephanie confesses the truth about Joseph and Felix.
• 23:23 – Joseph and Stephanie’s fatal struggle.
• 24:22 – The $2 million draft is found.
• 26:37 – Twist ending: the doctor is accused of murder in Havana.

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Segment 2: The Six Shooter – "The Double Seven"

Original Air Date: May 13, 1954
Starts at 30:25

Main Theme

A classic Western tale exploring land disputes, suspicion, and justice. Britt Ponsett, “the Six Shooter,” is caught between rancher Gid Bascom’s growing paranoia and the desperation of small farmers, culminating in a cycle of violence and redemption.

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Key Discussion Points and Insights

• Opening & Setting

  • [30:25] Halfway Creek is a small, isolated town, symbolic of the wider tensions brewing in the new West.
  • [32:53] Britt crosses paths with Gid Bascom, who is hiring extra men, including the mysterious gunman Clint Sutton, to protect his expanding ranch.

• Seeds of Conflict

  • [36:14] Gid suspects “nesters” (small farmers) of stealing cattle and possibly attempting to kill him, prompting him to hire a gunfighter for protection.
  • [37:24] “My tallies are short. After the roundup, I'll know for certain how many they got away with.” – Gid

• The Farmer’s Perspective

  • [40:29] Perry Waddell, a farmer, pleads with Britt to help stand up to Bascom and Sutton.
  • [41:32] “My farm's all I've got in this world. Nobody's gonna take it away from me now.” – Perry

• Cycle of Violence

  • [42:25] Rufe Lovett warns of a plan to burn out the farmers, prompting a retaliatory scheme against Bascom’s ranch.

• Britt Ponsett’s Wisdom

  • [43:17] “I sure don't see what you'll accomplish by that, Rufe.” – Britt redirects the townspeople away from vengeance, advocating for dialogue and reason.

• Turning the Tide

  • [47:28] Britt confronts Gid and his crew, persuading Bascom to avoid violence after warning him that the farmers might burn his ranch in return.

• Ambush and Tragic Backstory

  • [50:00–54:44] Britt is ambushed in the dark by Rufe, who mistakenly sees violence as his last option. Wounded and delirious, Rufe recounts how his previous farm and wife were burned by another rancher in Texas, haunting him ever since.

• Resolution

  • [55:00] Rufe’s pain and vendetta are revealed to stem from trauma, not wickedness. Britt, compassionate yet firm, takes Rufe into town, de-escalating the violence.
  • [57:00] Gid Bascom, upon reflection, agrees to let bygones be bygones, fires the gunman Sutton, and seeks a more peaceful coexistence with the farmers.

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Notable Quotes & Memorable Moments

• On Compassion:

  • "It just goes to show you there's differences in ranchers like anything else."
    – Britt Ponsett, 57:00

• On Nonviolence:

  • "I told Gid I'm not a hired gun. I'm gonna tell you the same thing."
    – Britt Ponsett, 41:35

• On Cycle of Grief:

  • “They're all the same, Poncet, with their grabbing, burning, killing. I figured if I stirred up enough trouble to force Gid out in the open... I'd be paying Gid back for what he'd done to Nancy.”
    – Rufe Lovett, 54:46

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Important Timestamps

• 30:25 – The Six Shooter episode opens; Britt enters Halfway Creek.
• 32:53 – Gid Bascom offers Britt a job; friction with Clint Sutton emerges.
• 36:14 – Gid explains growing tensions over land and cattle.
• 42:25 – Rufe reveals plans for violence; Britt tries to calm both sides.
• 47:28 – Britt intervenes as both groups near violent confrontation.
• 50:00–54:44 – Ambush: Britt survives, and Rufe’s tragic story unfolds.
• 55:00–57:00 – Resolution and lessons learned; empathy prevails.

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Summary: Tone and Language

Both stories showcase radio’s golden age flair for suspense and drama. Escape’s "The Sure Thing" is hardboiled, cynical, and filled with fatalistic wit (“It had seemed like such a sure thing. And it was murder. Payable to bearer.”), while The Six Shooter is reflective and humane, with James Stewart’s gentle authority and the weary wisdom of Western justice.

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Why Listen?

For modern listeners, this episode of Relic Radio illustrates:

• The enduring appeal of gripping, character-driven drama.
• The way motifs of greed, redemption, and moral ambiguity remain relevant.
• Classic storytelling and performances from mid-twentieth century radio, recreated with all the atmosphere and tension of the originals.

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For more classic radio and to support the show, visit RelicRadio.com.

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Transcript

[A]

This is the relic Radio show, Old time radio entertainment. Still standing the test of time from relicradio.com. welcome back to the Relic Radio Show. 60 minutes of old time radio drama every Tuesday at relicradio.com. our first story comes from Escape. This week from October 15th, 1949. We'll hear the sure Thing. After that, it's the Six Shooter and the Double Seven. That story aired May 13th, 1954. Tired of the everyday routine?

[B]

Ever dream of a life of romantic adventure?

[A]

Want to get away from it all?

[B]

Escape designed to free you from the four walls of today for a half hour of high adventure. Tonight we escape to a lonely schooner.

[A]

Sailing through the hot Caribbean night, carrying.

[B]

A fortune and the heedless passions of reckless men. As John and Gwen Bagney tell it in their exciting tale, the sure Thing. This way, senor. Thank you. If you would please wait in here in the president's office. Fine. You understand, senor, I have not the authority to handle the matter myself. Yes, of course, I understand. You see, a bank draft of 2.2 million dollars. It is a matter of such importance. Senor Jose Perez, the president of the bank, he is the only one that's perfectly all right. I'll wait for senor Perez. Gracias, senor. Gracias. Wait? Yes, I could wait. I'd come this far, I could afford a few more minutes. And I'd wanted to think about it. To roll it over in my mind just as you roll a finely cur over your tongue to enjoy the full realization of was hard to believe. Just a short while ago, I had been ship's doctor on the SS Martina, the gilded ferryboat of the Caribbean. And now I sat back in a comfortable chair and went over the whole thing again in my mind. Just the way it happened from the beginning. We had just cleared the Straits of Yucatan on our way to havana when the 23 word message came. That started the whole thing. Same thing, Doc. SOS latitude 23 north longitude. Accident case on board schooner Sidon, Naruto, Savannah.

[A]

Urgently need.

[B]

Doctor. Can you board us? Is that all? No answer as to the type of injury. I don't get it, Doc.

[A]

She's laying two just out to starboard.

[B]

And they still keep sending the same message.

[A]

Lifeboat's ready, Doctor coming. Got all your gear?

[B]

All set. Let's go. As a rule, I don't excite easily. But I was hanging onto my little black bag like an intern on his first ambulance case. Maybe it was the hour, the gray hour at sea that is suspended between day and night as we Pulled away from our ship, I could just barely make out the schooner heeling to a wandering current. She was a 42 footer, and from her high bow, she sloped away neatly in a sweeping sheer line to a trim, square stern. The Sidon. The name seemed to fit her, aloof and aristocratic. We pulled alongside that for. Doctor? Yes? Give us a hand, will you? All right, men, ship your oars. Steady. Doc. Take my bag. Olson, give me a hand with a stretcher.

[A]

Right.

[B]

Watch your step. B is he? Thanks. Well, there we are. Now, where's the patient? He's below. What'd you bring the stretcher for?

[A]

Who are you? I'm the owner. Felix Orouge is the name.

[B]

You can't take him off this boat. He's too weak. I'll decide that. Come on, Olson.

[A]

Come on, doc.

[B]

We went below. The main cabin was lined in Honduras mahogany. Everything was custom built, even the galley that we passed through on our way to the stateroom forward, where I found my patient, an old man, and with him, a girl.

[C]

Oh, doctor, I'm so glad you're here. Joseph. Joseph. Joseph, the doctor, he's here.

[A]

Oh, doctor. Thank him.

[B]

Easy, now. Easy. You'll be all right.

[C]

Doctor, he had an accident. He's terribly ill. I've been so worried.

[B]

Please.

[A]

Mm.

[B]

Bad shock pulse. Pretty low.

[C]

You're not going to take him away, are you?

[A]

No way.

[B]

No, no.

[A]

Can't.

[B]

Easy now. Have you enough oil aboard to reach Havana if the wind doesn't hold?

[C]

Yes, I think so.

[B]

Okay. Olson.

[A]

Yeah, doc.

[B]

You go on back. This man's in no condition to be moved. What about you? I'll meet the ship in Havana. We ought to be in there sometime tomorrow. But the skipper. I'll take the responsibility. Okay.

[A]

You're the doctor.

[B]

All right. Let's have a look here. Easy now. Who bandaged him?

[C]

I did.

[B]

You did a good job. No, don't try to talk. How long has he been this way?

[C]

Two days.

[B]

Two days?

[C]

The wound, doctor. I'm afraid.

[B]

Yes. It's a nasty one. Deep and infected. Who did the surgery on him?

[C]

Surgery?

[B]

Who probed for the bullet?

[C]

Bullet? There was no bullet. He was injured while splicing a backstay with a marlin spike.

[B]

He was what?

[C]

You see, he was carrying the marlin spike in his hand When Felix had to come about unexpectedly, it threw him off balance and he fell.

[B]

Hand me my bag.

[C]

What's the matter?

[B]

You're like a parrot I used to own your sea. Talk is too glib.

[C]

It's the truth, I tell you.

[B]

I've dug out too many bullets not to recognize the kind of mess they make.

[C]

It was a marlin spike.

[B]

Yes, well, you can yell marlin spike all the way to Havana, but it isn't going to change my report.

[A]

No, no bullet.

[B]

Marlin spike, eye back. Now this won't hurt.

[A]

What?

[B]

Just the hypodermic. No, no, no. No dope. I don't want it. Oh, that. Got to probe. You can't take it if you're conscious. No anesthetic.

[A]

Only brandy.

[C]

Doctor, give him the anesthetic.

[B]

Oh, no. You'd like that, wouldn't you? Stephanie?

[C]

You're out of your mind. Joseph, I just want to save you the pain. And the doctor.

[B]

Get him the brandy. But Doctor, it's his body. If that's what he wants, that's the way he'll have it. Now get the brandy.

[A]

Thank you.

[B]

And Doctor. Yes?

[A]

Send Stephanie away.

[B]

Don't wander around me. She went away, but she didn't like it. And I got to work. The old man didn't say a word. All the time I probed. Just moaned and gritted his teeth. I found the bullet alright. And then I pouted the wound with sulfur and bandaged it. I could see I'd have my hands full just to keep him together until we got to Havana. For the next couple of hours I was pretty busy. And it was well after 10 o' clock when I felt it was safe to leave him and go up on deck to catch a smoke. Halfway up the companionway I ran into Felix Arouge on his way down. I hadn't got a good look at him when I first came aboard, but now I did. Heavy, dark, bony face with a black mole on his cheek. Fine flannel slacks rolled to his knees and for a belt, a gaudy necktie against the polished brass and teak deck of the schooner. He was as incongruous as a herring and caviar. Well, Doc, how's the old boys? He gonna kick off? I'm sorry to disappoint you, but I think he's gonna be all right.

[A]

You think or do you know?

[B]

I'm only a doctor. I've done everything I can for him. Yeah. Wait a minute. Where are you going? I want to see him. I gotta talk to him. I wouldn't advise it. That's when. Are you giving the orders around here? Since I came aboard. I don't want him disturbed. He needs to rest. Well, you got any objections if I get myself a cup of coffee? No, so long as you stay away from my patient.

[C]

Oh, I didn't hear you come up.

[B]

You handle the wheel like an old salt.

[C]

Oh, I don't know much about it. I just do what Felix tells me. How's Joseph? You've been down there such a long.

[B]

Time, I thought that he died.

[C]

What a horrible thing to say. Of course not.

[B]

Who is Joseph? Your husband?

[C]

No, I'm his secretary.

[B]

Oh. Then this is a business trip.

[C]

In a way, Doctor. What are you getting at?

[B]

Did you shoot him?

[C]

Why would I shoot him and then call for a doctor out here in the middle of the ocean?

[B]

I don't know. And after tomorrow, I won't care. You realize, of course, my report to the authorities in Havana will be according to my own findings.

[C]

I suppose so. May I have a cigarette?

[B]

Certainly. Here you are.

[C]

Thank you. I have a light. I don't imagine there's any way of changing your mind, is there, Doctor?

[B]

This is a beautiful schooner. Belong to your boss?

[C]

Yes.

[B]

I wonder. Mind if I take the wheel for a while? It's been a long time since.

[C]

Oh, you know how to sail?

[B]

Yeah, I used to back in Maine.

[C]

All right, go ahead.

[B]

Hmm. Feels good. Yeah, she sure handles like a dream.

[A]

Uh huh.

[B]

Just as I thought.

[C]

What's wrong, Doctor?

[B]

We're not headed for Havana. We're headed in the opposite direction. The Sitan was racing along with sails full. But she wasn't sailing due east to Havana. The compass said she was sailing southwest, away from Havana, as fast as wind and sail could take her. I laid her on the starboard tack and started to bring her about. The sails bellied out, catching the wind as it shifted across the bow. And then as they started to fill away, the mainmast boom swung over. Just as I ducked to a bush, a shot rang out. I put up my hand to steady myself against the main boom. And there in the wood, right where my head would have been if I hadn't ducked, was the bullet. Across the deck, silhouetted in the light of the companionway, stood Felix, polishing his gun with a handkerchief.

[A]

You shouldn't tack, Doctor, when a man's cleaning his gun.

[B]

Cleaning your gun in the dark, in the middle of the night? I suppose it is dangerous. I say, you don't like our course. I was under the impression this craft was bound for a Van Hunt. That's right, Doc, we are. Then why are we sailing southwest? Southwest. That's a woman for you. Can't trust them behind the wheel of a car.

[A]

And they're no better behind the wheel of a boat.

[C]

Oh, no, Felix. You don't blame me for That I don't know anything about a course. I did what you told me.

[B]

Then why didn't you do it? Right.

[C]

If I'm so incompetent, maybe you'd better handle it yourself.

[B]

Maybe I will. As the siton pushed its way through the serenity of the night. Carrying with it an incredible tension. I didn't know what that game was. The lies, the marlin spike, nocturnal gun cleaning. Change, of course, who they were or what they meant to each other. But one thing was certain. I intended to get to Havana if it was the last thing I ever did. And to make sure it wasn't the last thing. This was one night I wouldn't sleep. I went down to the old man's stateroom. Where I'd left my bag to get some Benzedrine. While I was there, I checked on him. Considering his age, he had a lot of stamina. He was sleeping quietly. He wouldn't need me. I opened the bag, took the tablets. And suddenly my hand stopped in midair. My hypodermic needle, loaded with the anesthetic that Joseph had refused. Was gone. In just a moment, we will return to Escape. But first we keep reminding you that this fall you'll hear them all on cbs. But there's one Sunday night show that makes you think constantly that it's spring. It's the show that brings you the hilarious adventures. Of that capricious teenage charmer, Corliss Archer. Youth and love and a definite springtime madness. Well up in Corliss's adventures. Every Sunday night. Bewitching, bothering and bewildering. Her parents, the neighbors, her teachers and her boyfriends. For a show that's filled to the brim with charm and good humor and very funny adventure. Meet Corliss Archer. Every Sunday night on most of the same CBS network stations. Tune in, tune in this fall for.

[A]

The shows that you love best of all. Listen carefully. Here's the address. It's cbs.

[B]

Cbs. And now back to Escape. And the second act of the sure Thing. My hypodermic needle, loaded with the anesthetic that Joseph had refused, was gone. I tore the bag apart, took everything out. But it wasn't there. It wasn't anywhere in the stateroom. One of them had stolen it. Why the use on the old man? On me? I went back up on deck. Felix was at the wheel. I knew it was futile to ask him if he'd taken my needle.

[A]

What's the matter?

[B]

Can't you sleep? Or are you still worried about the course? Say we're sailing Due east. Very commendable. Mind if I take the wheel a while? No, I don't mind at all. But keep her due east, Doctor. I want to get to Havana. I watched his truculent broad backed as he moved across the deck and disappeared below. The moon was as bright as day and as reassuring. It drove the worry of the missing hypodermic needle away from the front of my mind. It was good to be alone, to feel the sure swiftness of the boat under my feet. This was something to cling to. This was reality. Every knot closer to Havana. The sail swung out, covering the moon, throwing everything into blackness. That's why I didn't realize it at first anyone was approaching until I saw the glow of the cigarette. I tensed myself. My hand clutched at something. In the cockpit was a wrench. The cigarette moved closer. I waited. The sail bellowed back, and I saw her full in the moonlight. There was strength and defiance in the way she held her footing against the wind. But there was no defiance in her voice.

[C]

I have to talk to you.

[B]

Go ahead, talk.

[C]

I'm afraid I haven't been very honest with you.

[B]

No, I'm afraid you haven't.

[C]

I lied to you. And I realize now how foolish it was. But, Doctor, I'm afraid of Felix.

[B]

Are you trying to tell me it was Felix who shot the old man?

[C]

Yes, and he made me lie about it.

[B]

Like you lied about the course.

[C]

You'll never get to Havana. He's letting you think that you're getting there now. But he'll figure out something.

[B]

I'm sure he will. If that target practice a few moments ago was any sample.

[C]

Oh, he wasn't trying to kill you. Felix wouldn't kill you now. Not as long as Joseph needs you.

[B]

I mean, you know, you're not making sense again. Felix wants me to keep Joseph alive. And yet Felix shot Joseph.

[C]

It was just in a fit of anger and argument. Felix has a terrible temper. Why, he'd be a fool to kill Joseph.

[B]

What makes Joseph so valuable?

[A]

Hmm.

[C]

I suppose. Suppose I should tell you all of it.

[B]

Might be a good idea.

[C]

I told you the truth about one thing at least. I am his secretary. Only his name isn't just Joseph. It's Joseph Ingram.

[B]

Ingram? No wonder his face was familiar. He's the big aviation tycoon. Yeah, but look, Ingram was killed two weeks ago. I read about it in the papers. A transcontinental airplane crashed into a mountain.

[C]

Even fate works for him. We were on our way to Washington. He'd been subpoenaed to have his War contracts investigated. Oh, the public was really worked up about it. He was a cinch to be indicted. Why, even his own wife left him after 20 years of marriage. But as luck would have it, we got off the plane at Albuquerque to answer a wire from his attorney.

[B]

But the radio and the newspapers obituaried him to death.

[C]

I know that's how things happened for him. Apparently, there. There was just no record of us leaving the plane. And they only found half the survivors. Some of those they couldn't identify.

[B]

Now, go on.

[C]

Well, when Joseph realized that he was officially dead, he saw the way out. He phoned Felix in Florida to have the sitting ready. And we took a train down and boarded her there.

[B]

Yeah, I see. But I don't know why.

[C]

Do you think I'm on this boat? Do you think I wanted to come? Do you think I wanted to leave my whole life behind? I was forced to come. I was the only one who knew that Joseph was still alive. And now you know.

[B]

What about Felix?

[C]

Oh, Felix. He does odd jobs, as it were, for Joseph. Joseph owns Felix body and soul, just as he owns everyone who works for him.

[B]

And you?

[C]

I was ambitious. I ought to hate Joseph. But it's not his fault. I saw a chance to go further with him than with any other man. Only I'd known how it would end. Running away from everything, always to be afraid.

[B]

Well, if that's it, then I was wrong. Then maybe the needle isn't meant for Joseph.

[C]

Needle? What needle?

[B]

A hypodermic needle loaded with anesthetic. It's missing from my bag. If it isn't meant for Joseph or for me, it's meant for you.

[C]

Oh, no. Oh, no. He can't. He wouldn't.

[B]

I'm afraid we'll have to be more realistic.

[C]

Wait.

[B]

If you'll forgive the pun, I'm afraid we're both in the same boat. There was desperation on her face, and I felt sorry for her. She was in this mess up to her neck, and she was afraid. And yet it was good having her beside me there in the cockpit. It was pleasant to be with her. Just the two of us. The moon and the sea. Well, anyway, the hypodermic needle was the farthest thing from my mind when I took her in my arms. And then it happened. I felt the stinger that pierced my flesh. The needle. You.

[C]

What are you talking about?

[B]

The needle. You stuck me with it.

[C]

Needle. Oh, I'm sorry. It was just my brooch. It's always coming open.

[B]

Brooch, I thought.

[C]

Silly. Fastened for me. Will you, please.

[B]

Yeah, sure. Yes, of course. It's that missing hypodermic. It has me rattled. I've got to get it back.

[C]

You'll get it back.

[B]

Yes, but when?

[A]

How?

[C]

Right now, Doctor. Like this.

[B]

She used the needle deftly in one motion, plunged it in my arm. I tried to struggle to my feet. Her face was mocking me. I grabbed her, but the drug was warm and deadening. And after a blurred moment, I was gone.

[A]

Can't you ever do anything right, you stupid bitterman.

[B]

I could hear them from a long ways off. I came to slowly. Then I lay there listening.

[C]

I only did what you told me to do. You're the one who's bundled it.

[B]

Good thing I caught you before. You both standing over me, working on me, doing everything they could to bring me to.

[C]

Now you've spoiled everything.

[A]

You.

[C]

Why did you have to rush things?

[B]

You want to know where the money is, don't you?

[C]

Well, you haven't found out. Now maybe you won't if you'd left Joseph alone. Oh, but no, no, you couldn't wait. As soon as the doctor was unconscious, you had to work him over. If Joseph dies out, we'll never find out where he hid it.

[B]

It's on this boat.

[A]

I know that. And I didn't hurt him.

[B]

I just pushed him around a little.

[C]

Oh, that stupid temper of yours. That awful impatience. You'd think you could have waited for $2 million.

[B]

$2 million. Now it began to make some sense. Now everything made sense. As long as Joseph needed a doctor and wouldn't tell where the money was, we both lived. But if I couldn't keep him alive. Get on your feet, Doc. Come on.

[A]

Come on, Doc.

[B]

Get on your feet, Felix.

[C]

Easy.

[B]

Since when are you getting satuchi? Now, come on. Come on. All right, all right. I'm on my feet. Welcome back, Doc.

[A]

Now get below the old man.

[B]

Nature. He's had a relapse.

[A]

Stephanie, take the wheel.

[B]

I said get below, Doc. Not in the mood to take orders? Maybe this will put you in the mood. Creased my chin with a short jab, my knees buckled. I swung at him and missed. I saw another one coming. This time I ducked. With a roundhouse on the side of his head that sent him reeling along the wet, narrow deck, I started after him just as the boat came about violently heeling over with her scuppers awash, I wildly grabbed a guy line just in time to see Felix thrown backwards into the sea. I whipped around. The girl had done it. Spinning the wheel like crazy, I dashed back to the cockpit. And tried to grab it away from her. She fought me like a tiger. But I finally pushed her off right at the boat and put her about. But Felix was nowhere in sight. We tacked around searching for him, but it was useless. Well, he's gone. You killed him.

[C]

It was an accident. You ought to be glad he's gone.

[B]

Why?

[C]

Well, it was either him or you.

[B]

Your concern touches me.

[C]

Besides, we don't need him. Don't you see? You know how to handle a boat, and you're a doctor. You can keep Joseph alive until we make him talk. And when we find out where his money is, we can get rid of him.

[B]

And sail away into the sunset.

[C]

That's right. Just you and me.

[B]

Yeah. No, thanks. I'll play out the original hand in Havana.

[C]

I don't think so, Doctor. I'm setting the course now. And if you're interested, I'm a much better shot than Felix. I won't hit the boom.

[B]

The gun glittered in the moonlight and she was smiling at me. But I wasn't looking at her, but beyond her. At first I wasn't sure. I just sensed the movement. And then I saw him. Joseph Ingram, barefooted and in pajamas, pulling himself painfully up the companionway, forcing his body to make the effort.

[C]

Joseph, you.

[B]

You wanted too much, Stepney. My money and Felix's.

[A]

You.

[C]

Felix is gone. He had an accident.

[A]

Ah.

[B]

Like mine, I suppose. If only I hadn't been so greedy.

[A]

If only you'd waited, you'd have gotten your share.

[C]

Joseph, you're sick.

[B]

You are such a little fool, Stephanie. In the heel of my shoe is a draft on the national bank in Venezuela for $2 million. Payable to bearer.

[C]

So that's where it is. Thank you, Joseph. That's very generous of you.

[B]

I wouldn't have believed it if I hadn't been watching a bullet in the stomach. Yet he kept coming at her, lumbering barefooted across the deck like a wounded bear in blue silk pajamas. Snack so easy. She backed away. Everything had done any but kept coming. Not so easy. She was at the edge of the deck as he collapsed against her, his heavy arms in a death grip around her. And like a cartwheel, they spun together over the side into the inky whiteness of the sea. $2 million in the heel of a shoe. It was in the heel of the shoe, all right. I went below and found it just a piece of paper that three people had died over. $2 million. Certified backwards and forwards, payable to bearer. In just a few hours it would be daylight. I could Be in Havana by noon. Back to the Martinez, back to the dispensary, back to the endless round of seasick pills, hangover remedies, and when I'm lucky, maybe a sprained ankle. Or Venezuela. The choice was simple. There was no risk at all. It was a cinch. It was a sure thing. It was payable to bearer. Good afternoon, senor. I'm sorry I've kept you waiting. You presented this bank draft for payment, senor? Yes. Are you Senor Perez?

[A]

That is right.

[B]

I am the president of the bank. This draft, it is quite a large sum. There's nothing wrong with the draft, is there? No, senor, it is in order. Good. And you wish us to transfer this money to your bank in the United States? No, no. As a matter of fact, I wish to open an account here. What? Certainly. Gomez, you will make the arrangements for the senor? Oh, si, Senor Perez. At once. And now there is a lady, a countrywoman of yours, waiting to see you. Please step this way, senor. To see me? But who?

[C]

Joseph? I've been waiting so long. Senor Perez, is this the man who presented the draft for payment? Si, senor, but he isn't. Then what's happened to Joseph?

[A]

Who?

[C]

Joseph Ingram, of course.

[B]

Senior Perez, who is this woman? What is she doing here?

[C]

I heard the Sydney come in this morning with only one person aboard, so I rushed right here to the bank. But you've cashed the draft. What have you done, Kill Joseph for it?

[B]

Look, madam, I. I don't know what you're talking about. Just who are you, anyway?

[C]

I'm Joseph Ingram's wife.

[B]

This is Ingram. But then surely you know he died in that plane crash back in the States.

[C]

He didn't and you know it. Joseph wasn't on that plane. He boarded the Sydney, Florida.

[B]

Now look, madam, all the news.

[C]

Joseph and I planned the whole thing. Those highly publicized statements about our divorce were just a cover up. He was to meet me here with the money. And I know he would have if he were still alive. Senor Perez, will you call the police? I accused this man of murdering my husband.

[B]

I didn't kill him. She killed him.

[C]

She?

[B]

Stephanie, his secretary.

[C]

And where is she?

[B]

She's dead, too. He killed her.

[C]

That doesn't make any sense. Where is Felix Larouche?

[B]

You see. Felix, he was killed when he. Yes, well, you see, it was like I stopped. They were staring at me. They didn't believe me, of course. Who would ever believe me? But it had seemed like such a sure thing. And it was murder. Payable to bearer. Escape is produced and directed by William N. Robeson. Tonight we have presented the sure Thing by John and Gwen Bagney. Featured in the cast were John Hoyt as the doctor, Bill Conrad as Felix LaRouge, Faye Baker as Stephanie, and Ian Wolf as Joseph Ingram. Also heard were Don Diamond, Ted Decorcia and Sarah Selby. Special music was arranged and conducted by Del Castillo.

[A]

Next week you're within a few days.

[B]

Of your release after eight years of.

[A]

Horror on the prison island of New Caledonia. But between you and final freedom stands the love of a beautiful girl and.

[B]

The monstrous figure of Monsieur Denou, the official executioner. Next week we escape with John Russell's terrifying story the Red Mark. Good night then, until this same time next week when once again we offer you escape. A whole family of pop Hollywood stars waits to entertain your family. Every Sunday on cbs, it's on the.

[A]

Family Hour of Stars.

[B]

Heard over most of these same CBS stations. A half hour of top entertainment, romance, comedy or drama starring Irene Dunn, Ronald Coleman, Loretta Young, Dana Andrews, Kirk Douglas and Jane Wyman.

[A]

In turn, your whole family will enjoy.

[B]

The Family Hour of Stars Sunday on cbs, where this fall you'll hear them all. Stay tuned now for Sing It Again, which follows immediately over most of the same CBS stations. This is cbs, the Columbia broadcasting System.

[A]

In a moment you'll hear James Stewart as the Six Shooter. Just one of the many fine programs brought to you each week on NBC. Tomorrow night there's top comedy entertainment with the Bob Hope show, the Phil Harris, Alice Fay show and can you top this with Senator Ford? Bob Hope delivers rapid fire comedy routines while Phil Harris and Dallas Fay bring you both mirth and music. It's a great Friday night lineup of comedy programs, all of them heard only on NBC. James Stewart as the Six Shooter. The man in the saddle is angular and long legged. His skin is sun dyed brown. The gun in his holster is gray steel and rainbow mother of pearl, its handle unmarked. People call them both the Six Shooter. The NBC Radio Network presents James Stewart as the Six Shooter. A transcribed series of radio dramas based on the life of Brit Ponsett, the Texas plainsman who wandered through the western territories leaving behind a trail of still remembered legends. Halfway Crick sure wasn't much of a town. Oh, that general store and cafe, room and house and a blacksmith shop. That's about all there was to it. And I never figured out who where the place got its name either. It didn't seem to be halfway to anything. As a matter of fact, it was right at the end of the Trail from Santa Fe. Only thing further west. Couple of small farms. And yet Baskin's Double 7 Ranch. That's where I was heading to Double 7 to see if I could sign on with Gid for the spring roundup. Wow. Didn't look like I was gonna have to ride out all the way.

[B]

Oh, boy.

[A]

Oh, yeah. Well, there was Gid himself, pounded down the main street. Five or six fellows behind him. Well, if he had that many men working for him already, he probably wasn't that much use to me. Hey, Brett. Brett Fonsett. Howdy.

[B]

Gad.

[A]

By the name of Moses. You come from, Brett? Oh, no place special. I was laying some railroad track out of Denver for a spell, but then I thought it was about time for me to hit the. Well, if you're looking for a job, we can always use an extra hand. Can we, boy? Well, it's mighty nice of you, ged. To tell you the truth, I was sort of hoping that you had room for another. Well, go on, Brit. Oh, I. I guess you've got enough help here without me. My outfit's been growing since you were through here last. We're stretched clear over to Patchy Hill. You don't say. It takes a lot of riders to cover that much ground.

[B]

Yeah.

[A]

Yeah, I guess it. Oh, come on, then. Let's go. We're on our way back to the Double Seven right now. Or maybe. Maybe next roundup, Kid. What's the matter with you, Brit? You said you were looking for work. I reckon I'm gonna change Puns's mind, Kid. Reckon he's a little too fancy to ride alongside me, huh? How about it, Six Shooter? You boys know each other? We met up.

[B]

Yeah.

[A]

Well, take it easy.

[B]

Get.

[A]

I'll be saying. Now, hold up a minute, Brett. You go ahead, boys. I'll catch up with you. I want to talk to Poncet. You're wasting your bread. I'm still boss of the Double Seven, Clint. I don't need no advice from you. Sure. Get your. Better cup of coffee, Brit. Ah, thanks. I guess I could use one. Yes. Cristian ain't the best cook in the world. He can usually get his coffee down without a gagging. You all right, Chris? You still run the cafe, huh? Sure. Sure. Town ain't changed much, Brit. On the surface, that is. Oh. Oh, well, come on in, Mr. Bascom. Come on in. Hello, Christy. You remember Britt? Poncet, Brit. Well, for goodness sakes. When did you get back to town? Just a little while ago, Christy. You're sure looking well. Fit as a fiddle. Mr. Grand finds it fit as they fiddle. Now, you both sit down at that table over there and I bring you some of my special for today. Beef stew. I made it fresh this morning. No, thanks, Christy. We just come in for some coffee. Well, that's after 4 o'.

[C]

Clock.

[A]

It's practically time for supper now. Coffee will do the trick for now.

[B]

Oh.

[A]

Well, what about you, Mr. P? A little taste of my stew? No, no, no. I think I'll just stick to coffee, too. Oh, okay.

[B]

Well, the pot's on the stove.

[A]

Out and Biden.

[B]

I'll get it.

[A]

No hurry. Well, Brit, is Clint right? Is it on account of him you don't want to work for me? I never said that. Yet you sure acted it. Well, to tell you the truth, I was sort of surprised that you'd hire a man like Clint Sutton. Rick. I just didn't have no choice. Oh, like I told you, the double seven's been growing. When a ranch gets big, well, I guess a man's bound to make enemies. You need somebody who's handy with a gun around. You never had any enemies before. Again. Yeah, well, times are different now, Brick. What do you mean by that? Well, you remember those sod busters down by the creek? Perry Waddell and Fred Garver? Sure. Well, there's been some new ones move in in the last year or so. Well, that isn't your land along the creek, is it?

[B]

No.

[A]

Never claimed it was. I always figured there was plenty of space around here. Room enough for me and them nesters, too. Well, I ain't been like some of the other ranchers. You know that, Brit. I ain't never tried to run the sod busters off or burn them out. Live and let live, that's what I always said. I tried to practice my preaching, too. Here's your coffee, Jack, Right off the stove. There we are. You sure you won't have nothing else? Oh, thanks, Christy. Here you go. No, no, hold on. Keep your hands away from your pockets, Brit. I guess I can afford a couple of cups of. Of coffee. Well, thank you, Mr. Basin. Hey, I've got some bread in the oven, so if you want anything more, we good.

[B]

Boy.

[A]

Better seltzer it for a spell, let it cool off some. Wow. It's not the heat, it's the taste. Gee, wait. That stuff's what's as bad as the coffee. I make myself worse. Yeah, I guess it's a good thing we didn't order none of Christie stew. Yeah. Yeah, I did. Now, anyway, Brit, about Clint Sutton. Now, there was a good reason for hiring him. They've been stealing my cattle and.

[B]

What?

[A]

Yeah, them nesters. No, there ain't any doubt about it. My tallies are short. After the roundup, I'll know for certain how many they got away with. Well, now, get. It doesn't stand to reason that men like Waddell and Garbard Russell, your animals, they're in a rough spot as it is when they're living right next to the edge your ranch. Well, they must know that you could shove them off of there if you took a mine to it. I guess they know that all right. Anyway, one of them tried to shoot me. They were you sure that I didn't see who it was? Not. Not for certain. But they've been any strangers around Halfway Creek lately. So Sutton's a stranger. I hired him after the shooting. I had to have somebody, Britt. My own boys ain't very fast with a gun. They ain't had much experience lately. Now, Gid, you're just asking for trouble. Bringing Clint Sutton again. Britt, the trouble's already started. And I didn't start it, they did. Of course, if I had known you were coming into town, I wouldn't have taken Clint on. Well, if what you wanted was a gun, I'm not the man for you. I reckon Clint is. Well, that's the way you feel, Britt. That's the way I feel. Maybe you'll change your mind after things quiet down. Or maybe there won't be a serious mix up now that them sod busters know that I mean business. I wouldn't pout on that yet. Well, thanks for the coffee. Well, we're getting on toward evening now. I was beginning to feel some hunger pains down the pit of my stomach. I sure didn't like the idea of sampling Christy Ott stew, though. I figured I'd be better off to buy some cold grub at the general store, so I headed across the street. Just as I started to go in the front door, I saw somebody staring at me from behind a wagon over to the blacksmith shop. Son was directly behind him, so I couldn't tell who it was exactly. Not until it came around into the shade. That you, Brit? Huh? Yeah, yeah. Don't you recognize me? Perry Waddell? Oh. Oh, sure. Perry. The sun was in his eyes. I couldn't see you. You busy, Brett? No, no, not Spaceland. Well, I'd like to talk to you if you got a minute to spare. Busted one of my wagon heels this morning. I'm Waiting for Sam Todd, See if he can put it together. Well, how have things been going with you, Perry? That's a good bit. Not so good. Yeah, I was just talking to get basking. What's behind the trouble, anyway? Same old story, I reckon. Big ranch, small farms. It just ain't room for bulls. There's always plenty of room before. Perry, Gib tells me that some of his cattle are missing. Oh, that's just his excuse to get rid of us, huh? And I ain't no thief, Red. Of course not. Not Perry. But I understand that they've been some new families moving in. Is that right? Any farmer who steals from Gib's herd, he be plum loco. He'd just be asking for Gid to burn him out. Yeah, that's true enough. I suppose Gid told you somebody took a shot at him, too, and said it was one of us. He mentioned something about it, yeah. He just needed a reason for bringing that Clint Sutton in here. Clint's a killer, pure and simple. Ain't bad enough that Gid wants our land. He's got to hire a gunfighter to take it away from us. Well, Git never objected to your farms before, Parry. There was always plenty of other land waiting for him. Now he's pushed his ranch clear to Apache Hill. He can't go no farther in that direction, so he's got to spread east. And we're in his way. That just somehow doesn't sound like Gid. He sure seems sincere when I talk to him now, I'm almost certain he believes somebody's been rustling his cattle. Rit, I swear to you that I never so much as laid a hand on any his stock. Well, that's none of my concern, Perry. I've seen. I'm leaving town anyway. You can't leave, Richie.

[B]

You.

[A]

You've got to stay here. I what? You're the only man who can stand up to Bascom and Sutton. Oh, and a whole lot. We couldn't pay you much, but we'd all chip in and give you what we can. I told Git I'm not a hired gun. I'm gonna tell you the same thing, Britt. Brett, my farm's all I've got in this world. I spent 21 years trying to build it up into something that'd mean a decent living for my wife and kids. Nobody's gonna take it away from me now. Well, I understand that. I understand. Look at that. Looks like somebody's in a rush, huh? It's Ruth Lovett. Oh, he's Homesteading the place right next to mine. What's your hurry? I gotta see you, Perry. Sure.

[B]

Yeah.

[A]

Yeah, but it's real important. Well, I was just going into the store anyway, so I'll see you later for you to rush off. Rick. Ruf, this here's Brit Poncet.

[B]

You.

[A]

You can speak your mind in front of him. Six suitor. That's right. Real pleased to meet you, Mr. Poncet. Howdy. Now, what's all the fuss about Rue? They're gonna burn us out tonight, Perry. You sure? Yeah, one of kids own men told me. Well, I was just talking to Kid just a little while ago, Rube. He never had any intention then. Maybe he's changed his mind since then, Mr. Poncet. And maybe he didn't feel like advertising what he's up to now. Perry, we got to get together all us farmers. Oh, sure. We'll hold them off. Hold them off? Why, we wouldn't have a chance against a man like Clint Sutton. Well, we. We gotta do something.

[B]

We.

[A]

We gotta fight back. We'll fight back all right, but on their own ground. What do you mean? They'll be riding toward our farms tonight, getting all his boys. There won't be a soul over at the Double Seven. Yeah, we'll show. Get Bascom. He ain't gonna have everything his way. We'll burn him out while he's burning us.

[B]

Now.

[A]

I sure don't see what you'll accomplish by that room. I get will think twice where he tries to shove somebody else around. That's what we'll accomplish. Maybe so, but it won't save your time. What else can we do? Well, you might try talking to ged. See if you can find out what's eaten Talk. Talk's a waste of time. Well, I don't know, Ruth. Maybe he'll listen to reason. Has he ever listened to us before? Well, besides, what about Clint Sutton? Who's gonna reason with that gun of his? I kind of forgot about Clint Red. Now, Perry, Red talking to Gid is your idea. Yeah, I know it is. I know, but I. Oh. Oh, God, Perry. All right. I'll see if I can head him off. Now, you and Roof go back to your farm. Stay put, huh? Okay, Mr. Pon. You don't know how much this means to us, Brit. Yeah. Yeah. You see, God, maybe someday I'll learn to keep my doggone ideas to myself. We'll return to James Stewart as the Six Shooter in just a moment. If you're a teenager up a loyal American, male or female, your country needs you in the civilian Ground Observer Corps, you've heard the radio broadcasts, seen the television pictures. You know the facts. You know what a single H bomb dropped in any metropolitan area could do. And today's long range bombers have made intercontinental war possible. Enemy planes based on the other side of the world could reach the United States in a matter of hours. Radar can help detect them, but there are dangerous gaps through which low flying planes can penetrate without detection. To fill out our detection system, civilian personnel is needed, particularly along the east and west coasts and in the Northern states. Sky watching is not a game. It's a necessary precaution. The Ground Observer Corps is now operating on a 24 hour a day basis and needs at least 200,000 volunteers to contribute a few hours of their spare time to this vital work. Will you volunteer? Get in touch with your local civilian defense center at once. Now, act 2 of the six shooter, starring james stewart as britt poncet.

[B]

Get.

[A]

Bascom's ranch house is about a three hour ride from town. So around about 8 o' clock I figured it was halfway there. The moon was just beginning to silver up the top of Apache Hill. I hadn't been too sure of the trail, but now that things were lightening up some, I gave Scarlet a nudge. Come on, let's go. It was real sandy country. Clump of purple sage. Every now and then, once in a while, a pine tree or two. We must cover about four miles. Then we came to a little creek. From there on, the trail started to wind into a kind of a jagged ravine with a couple of tall yellow rocks at the mouth, sort of sticking up straight in the air like a couple of fingers. We were just getting past those rocks when I was heard what sounded like about a half a dozen horses coming toward me. I pulled up and waited. Oh, h again. What are you doing out here, Brit? Oh, I just thought I might come out and take a look at the Double Seven some other times. You in a hurry to go somewhere? That's right, we're in a hurry.

[B]

Oh.

[A]

Oh, hello, Clinton. Come on, kid. We ain't got all night.

[B]

Right.

[A]

You mind telling me where you're heading? Look, I offered you a job this afternoon. You turned me down. I don't see where anything I do from here on in is your concern. No, no, no, it sure isn't. But I was just noticing and looks to me like you've got the whole crew with you. What if I have? Well, it must be something kind of important to take you all the way out here away from the Ranch? This time of night, we're gonna burn out a bunch of Stephen rustlers. That important enough for you? Ponzitz plants now? He might as well know it. He can't do nothing to stop us. What happened, ged? You weren't planning anything like this when I talked to you? A little while ago, I found five of my steers over in a canyon behind one of them farms. Well, maybe your steers got lost. Maybe they just strayed over that way and hobbled themselves. Well, even so, it seems to me like this is a matter for the law. Ain't no sheriff in Halfway Creek. You know that, Brit. Well, there's a sheriff at Bixby Falls. Somebody go over and get him. You get him if you want him. Budget. We got other things do. Now, now, I wouldn't let Clint hurry me if I was you, kid. What difference does it make? It might make a lot of difference, seeing as how those farmers were talking about paying you back if you go after them. I'd sure like to know what they could do. Well, they sort of had an idea that they could burn down the Double Seven. Well, they sure must want to get themselves killed. Uhhuh. It doesn't look to me like there'd be anybody there to kill him. Sutton.

[B]

Look.

[A]

He's lying. He's just trying to stall. Do you think I'm lying? Good. Turn around, boys. We're going back to the ranch. Are you crazy? Get them nesters with me. Let's turn around. Let's go. Well, I watched him for a minute or two moving along through the ravine, heading back to the Double Seven. I could hear Clint arguing with Gid. Git didn't seem to be paying much attention to him. Then a swung scar around toward Halfway Creek. Must have been about 30 minutes later when we came down to a narrow stretch of trail that twisted down the side of the clip. Easy. Easy. One. Easy. The moon was sliding under a thick, milk white cloud and the rocks and the trees started fading into night shadows. For a minute or so, everything got real still, even the crickets. Somebody else was taking the same trail. Sounded like he was following me. I got a kind of a crickly feeling across the back of my neck. I started wondering, maybe Clint Sutton. I twisted around to see if I could get a look. I had to squint my eyes, but finally I made out the shape of a horse about 40ft back. He was just standing there, nibbling on a couple of tufts of grass. Wasn't anybody in the saddle. And right then, the cloud over the moon started skidding away and the trees began coming back to size. I was just about to give Scar a touch of the spur when I saw him crouching low behind a clump of pines. I saw something else, too. A little glint of metal. Whoever it was had a gun. I jerked out of the saddle and hit the ground. Looked around for cover. His aim was close as to too darn close. Well, it couldn't be sudden. I knew Clint's style of gunplay. He might miss one shot and he wouldn't miss twice. Then I spotted a little gully a few feet to my left and I crawled toward it. Keep him as low as I could. I was almost there before he had a chance to fire again. When he did, I started rolling and I tumbled down into the draw. I took out my gun. I was hoping he'd think he'd hit me, but his bullet had sent me over the side. I couldn't hear him move. I pressed flat and I pulled up behind a couple of big tumbleweeds. And I sort of cut down my chance of him spotting me. He was coming now. He was going to be at the edge of the gully in a couple more steps. I shoved my gun up and sort of gauge where I thought he'd show. Then a leg came into sight more than six feet away. Then his body swung up into view and just before he fired, he went down on his knees fast and swung out of the way and his bullet cut through one of the tumbleweeds. I gave it a shove and the wind sort of caught it. He fired again. He wasn't firing at me. Now he's firing at the weed. He had to rise up into sight to get aim. Bullet slapped him on the shoulder and for a minute he sort of hung in mid air and teetering on the edge of the draw. And then he pitched forward and toppled down beside me and I turned him over. Gotta look at his face.

[B]

What?

[A]

Well, what the thunder are you trying to do, Rufe? You should have been able to recognize me. It wasn't as dark as all that. I recognized you, Poncet. What? You shouldn't have meddled in this. Gid would have burned us out it hadn't been for you stopping him. Well, you wanted him to burn you out. It's gonna happen anyway, ain't it? Sooner or later. Well, not if Gid isn't forced into it. Big ranchers don't need no fortune. What are you talking about? I. I don't understand you, Ruth. It was your farm. He was gonna burn you're talking like the you hoped it would happen. I think I care about that farm. I had me a farm once down in Texas. Real good soil. Brown, soft, rich. Plenty of water too. Man could grow anything on that land. Well, what happened to him? Well, there was a ranch bigger than Gid's outfit, even. But it wasn't big enough. Not big enough to suit the fellow on that. He kept stretching out, crawling down from the hills, moving his fences closer and closer to. One day they was right up against my property. He offered to buy me out. He offered me good money. But it was my farm. I didn't want to sell, no matter what he was willing to pay me. Here, come on. I'll pull out your shirt to you. Try and see if I can get that bleeding to stop. Yeah. You think you'll be able to ride? I don't know. Give me a couple of minutes. Oh, sure, sure. Well, go on. You were telling me about your farm down in Texas. Ain't much more to tell. I wouldn't sell it. Nancy, she was my wife. She told me I was wrong. I'd have to give in. But I didn't listen to her. I should have listened. And burned us out, I see. I wasn't there when it happened. I was in town. Nancy. She tried to stop him. They killed her. I'm sure. I love it. I killed her and left her there in the house while they burned it. Couldn't even give her decent burial.

[B]

It was.

[A]

Now, take it easy, Ruth. Don't matter what becomes of me, Poncet. Not anymore. After Nancy. Well, afterwards, I come up here to New Mexico. Figured maybe I could start over. Maybe things would be different. But there wasn't no different. There's always a ranch and a fellow like Gibbaskin to shove you around. I watched him. Watched him spreading out clear to Apache Hills. And then when he couldn't go no further in that direction, I know he'd be coming my way. Well, I wasn't just gonna sit around and wait for him like I'd done before. So you stole Gid's cattle, Is that what you're saying? Didn't have nothing to lose. I was gonna be burned out anyways. I even took a shot at him. But he ain't much good with the gun. I guess it kind of showed that tonight. Well, it wasn't Gid who burned you out down in Texas, Rue. Luke was a rancher, just like Giddy. They're all the same, Poncet. With her grabbing, burning, chilling. I figured if I stirred up enough trouble to force Gid out in the open. Maybe then some of the other farmers would come along with me and we'd burn him up. He'd get a taste of his own medicine. I'd be paying Gid back for what he'd done to Nancy. But, Rufe, I'm Hank and son. Just see how it was that night. Smoke and ashes everywhere. First, I couldn't believe it that they killed her. I started to holler and holler until my throat was so sore the sound just wouldn't come out no more. But she didn't answer me. I thought maybe she'd run off somewhere. She'd scared her and she'd run away. And I saw her over behind a pile of smoke and timbers. Her clothes was all burned up. That's what he'd done. That's what Gid had done. That wasn't Gid, Bascom. Now get a hold of yourself. Gotta make it up for Nancy. I got to burn the Double Seven. You're coming to town with me. Town? Come on, now. Can you stand up? I guess so. Who are you? You come along here. I'll Let me give you a hand. What about Luke Harper? Luke Harper? You ain't been listening to me. I told you I got to get even with Harper for killing my wife. That's what I was going to do tonight. Burn down his ranch. Now, I told you. I know, I know. Yes, now you. You told me. But you just better forget about that for now. I couldn't forget. Not every. Come on. Come on. You and me are going to town, huh? There are help you on your horse Here. Come on. Thanks, mister. Thanks a lot. You've been real kind. Funny, there's something wrong with my shoulder. Somebody. Somebody shot me. Did Luke Harper do that, Mister? Maybe he did Ru get away. Maybe he did. I took Roof as far as Perry Waddell's house before I went in to get the dock. It looked like Ruth was going to be all right. At least it looked like he'd get over that wound in the shoulder. But whether he'd really ever get well again. I guess even the doctor couldn't tell that. The next morning, Gibb Bascom rode into town. Found out what had happened. He said he was willing to forget about the stolen cattle and the other trouble Ruth had caused him. And he said he'd get rid of Clint Sutton, too. He didn't come right out and admit it, but I've got a hunch he was kind of sorry that he'd hired Sutton in the first place. It just goes to show you there's differences in ranchers like anything else. The Six Shooter is a transcribed NBC Radio Network production in association with Review Productions. It is written by Frank Burt and is based on a character created by him. Mr. Stewart may currently be seen in the Universal International Picture the Glenn Miller Story. Others in the cast were Lamont Johnson, Gerald Moore, Bob Griffin, Parley bear, and Howard McNeil. Special music for this program was by Basil Adlin and the entire production is under the direction of Jack Johnstone. All characters and incidents were fictitious and any resemblance to actual characters or incidents is purely coincidental. Oh, by the way, you'll be interested in knowing that the Six Shooter has been chosen for broadcast to our men overseas through the facilities of the Armed Forces Radio Service. This is Hal Gibney Speak. Hearing Time Break brings you highlights from the Senate Committee hearings tonight on the NBC Radio Network. There's more from Escape, the Six Shooter, the Relic Radio show and all of the other Relic Radio podcasts at the website relicradio.com. you'll find our donate button there as well. If you'd like to help support this and all of the shows, help keep them coming every week. Thanks to those who have thanks for joining me this week. I'll be back tomorrow with an hour of Mr. Case closed and next Tuesday.

[B]

With our next episode of the Relic Radio Show.