The Whistler and Escape

Summary

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The Relic Radio Show

Episode: The Whistler and Escape
Date: March 31, 2026
Host: RelicRadio.com

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Episode Overview

This episode of The Relic Radio Show presents two classic old time radio dramas:

1. The Whistler – "The Human Catalyst": A dark psychological tale of love, murder, and unintended consequences set against the backdrop of a Miami Beach resort.
2. Escape – "Violent Night": A pulse-raising adventure set amidst a Caribbean revolution, following a man hunted through the jungle by a vengeful warlord.

The host frames these broadcasts as “audio artifacts from radio's golden age,” inviting listeners into an era when radio dramas reigned supreme in suspense and storytelling.

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Segment 1: The Whistler – "The Human Catalyst"

(00:39–29:53)

Main Theme

A seemingly perfect crime is unraveled by a "human catalyst": an unsuspecting bystander whose actions set off a series of fatal events. The story explores how hidden motives and paranoia can corrode even the strongest of conspiracies.

Key Discussion Points & Plot Breakdown

• Introduction to Catalysts in Chemistry—and People
  (02:26) The Whistler:
  “In the field of chemistry there are curious substances known as catalysts...In a way, they simply stand on the sidelines untouched by the reaction they cause...There are catalysts too among human beings.”

• Vic Stanfield’s Return and a Fatal Plot
  (03:14–04:45) Vic and Thalia, lovers, discuss their role in the suspicious death of Thalia's husband, Carl, setting up both their romance and the underlying murder. Thalia’s coolness contrasts with Vic’s growing anxiety.

• Arrival in Miami Beach and Growing Suspicion
  (07:43–10:17) Vic and Thalia move on to a blissful new life at a Miami Beach hotel, unaware that Arlene Foster, a young innocent, is about to tip their world into chaos simply by voicing suspicions.
  (09:17) Thalia: “And that’s why it’s so perfect. Because we’re the only two people who know. The only ones we’ll ever have to worry about.”

• Seeds of Doubt and the Catalyst's Unwitting Role
  (10:58–12:12) Arlene, emotionally stirred by gossip and jealousy, places a phone call that casts suspicion on Thalia and Vic, setting off a chain of mistrust between the newlyweds.

• Tensions Rise Over Money and Trust
  (13:12–16:19) Thalia tries to convince Vic to put all his assets in her name. Vic’s refusal, fueled by the anonymous phone call and mounting paranoia about betrayal, heightens the tension.
  (14:09) Vic: “There’s $180,000, roughly, and property in Cleveland.”

• Mutual Surveillance & The Power of Paranoia
  (17:23–19:42) Both Vic and Thalia hire private detectives to follow each other, their growing suspicion exacerbated by the young Arlene’s innocent meddling.

• The Fatal Climax
  (22:22–27:35)

  • Vic, desperate, plans to stage Thalia’s suicide. In a confrontation on the hotel terrace, Thalia falls to her death.
  • (26:44) Police reveal that Thalia had already reported her fears:
    “When she called us just 20 minutes ago, she said she was certain you were going to kill her.”

• Aftermath and Irony
  (27:35–28:51) Arlene and Orville, back on the terrace, reflect on the headlines, barely touched by the horror they unwittingly helped unleash—proving the "human catalyst" is often oblivious.

Notable Quotes & Moments

• On Human Catalysts
  (02:26) The Whistler:
  “There are catalysts too among human beings...and a 17 year old girl named Arlene Foster was about to become one.”

• On the “Perfect Murder”
  (07:43) Narrator:
  "Because you're sure that in killing Carl Westover, Vic, you committed the perfect murder."

• Thalia’s Pragmatism
  (13:14) Thalia:
  “Look, I think we'd better put your property, all your assets, in fact, in my name.”

• Final Ironic Twist
  (27:35) Police:
  “When she called us just 20 minutes ago, she said she was certain you were going to kill her.”

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Segment 2: Escape – "Violent Night"

(30:08–57:31)

Main Theme

A tale of survival and shifting allegiances amidst revolution: Barry O’Grady, a foreign plantation owner, is hunted by Alacran, a local warlord seeking vengeance. O’Grady’s flight is complicated when he takes Maria—Alacran’s daughter—hostage, and the boundaries between enemy and ally blur in the wilderness.

Key Discussion Points & Plot Breakdown

• Opening in Sanctuary, Yet Hunted
  (30:48) O’Grady seeks refuge in a church—but quickly learns even this sanctuary cannot protect him from the relentless Alacran.

• Revolution Engulfs the Village
  (32:46) Pepita:
  “It is a revolution, senor...Alacran…has come out of the jungle again. 1000 men are follow him.”

• Barry’s Escape—and Hostage
  (36:52–37:41) O’Grady waylays Maria, Alacran’s daughter, using her as leverage in his desperate flight.

• Narrow Escapes through the Jungle
  (39:29–44:13) Barry and Maria evade pursuit through gunfire, river crossings, and back-alley disguises, forging a wary partnership.

• Sanctuary and Betrayal in the Church
  (45:25–47:58) They seek sanctuary, aided by a priest who provides momentary shelter and an escape route as Alacran searches.

• Jungle Pursuit and Shifting Emotions
  (49:19–50:34) Maria’s fear turns into reluctant admiration and even affection for Barry during their ordeal:

  • (50:09) Maria:
    “I didn’t know who you were, what you were doing to me. Finally, I began to understand. I don’t hate you anymore, Barry.”

• Climactic Confrontation at the Mayan Pyramid
  (51:38–55:25)

  • Barry and Maria are cornered in ancient ruins by Alacran.
  • (52:19) Barry, desperate: “Before I let you take me, I’ll kill her.”
  • Barry ambushes Alacran, killing him in a final act of self-preservation.

• Power Shift and Final Irony
  (55:58–57:14)

  • Barry, captured by the new revolutionary leaders, is spared the firing squad because Maria has married Alacran’s successor.
  • (57:09) Captain:
    “Your wife Maria and I were married yesterday at the church of San Isabel. As a wedding gift to Maria, I gave her your life.”

Notable Quotes & Moments

• Revolution in the Air
  (32:53) Pepita: “All over the country. You must leave your plantation and go quickly.”

• Father’s Hatred
  (53:22) Maria:
  “My father has hated me for years. I did not come in handy like you hoped.”

• The Grim Bargain
  (57:09) Captain:
  “As a wedding gift to Maria, I gave her your life.”

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Timestamps for Key Segments

| Segment | Timestamp | Description | |------------------------------|---------------|---------------------------------------------------------| | The Whistler: Opening Monologue | 01:22 | “I am the Whistler and I know many things…” | | The Human Catalyst: Murder Plot | 04:14–05:34 | Vic and Thalia discuss their crime | | Arlene’s Catalyst Call | 10:58–12:12 | Arlene places the call that ignites suspicion | | Final Confrontation & Death | 22:22–27:35 | Thalia falls to her death; police close in | | The Whistler: Moral Wrap-up | 28:51 | Arlene and Orville reflect, oblivious to the tragedy | | Escape: Church Sanctuary Set-up| 30:48–31:35 | Scene-setting for "Violent Night" | | Escape: Revolution Erupts | 32:46 | “It is a revolution, senor…” | | Barry and Maria on the Run | 39:29–44:13 | Pursuit, disguise, survival | | Pyramid Showdown | 51:38–55:25 | Barry kills Alacran | | Final Ironic “Mercy” | 55:58–57:14 | Maria’s new marriage spares Barry’s life |

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Memorable Moments

• Chemistry as Metaphor for Crime and Consequence
  • The Whistler uses the concept of chemical catalysts to foreshadow how minor, unintended actions can unravel perfect schemes.
• Suspenseful Double-Crosses
  • Layered private investigations in "The Human Catalyst" build a steadily mounting sense of paranoia among all the main characters.
• Grim Humor & Irony
  • Both stories end with a twist of fate: a “catalyst” or ironic mercy delivers punishment (or a reprieve) far differently than the protagonists expect.

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Conclusion

This episode of The Relic Radio Show is a masterclass in old-time radio suspense:

• "The Whistler" delivers classic noir tension, with a focus on human fallibility and fateful unintended consequences.
• "Escape" offers cinematic adventure, propelled by relentless pursuit and shifting power, culminating in a perfectly ironic fate.

Both tales showcase how a single unintentional catalyst—a word, a call, or a newly kindled affection—can trigger unpredictable, life-altering events.

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Transcript

[Narrator/Announcer]

This is the Relic Radio show Old Time Radio entertainment still standing the test of time from relicradio.com.

[Signal Oil Announcer]

The signal oil program the whistler. That whistle is your signal for the Signal Oil program. The Whistler.

[The Whistler (Narrator)]

I am the Whistler and I know many things for I walk by night. I know many strange tales hidden in the hearts of men and women who have stepped into the shadow. Yes, I know the nameless terrors of which they dare not speak.

[Signal Oil Announcer]

Yes, friends, it's time for the Signal Oil program. The Whistler rated tops in popularity for a longer period of time time than any other west coast program in radio history. And Signal Gasoline is tops too. Tops in quality. It takes extra quality, you know, to give you extra mileage. And Signal is the famous go farther gasoline. So look for the signal circle sign in yellow and black that identifies friendly dealer owned signal stations from Canada to Mexico. And now the Whistler. Strange story the Human catalyst.

[The Whistler (Narrator)]

In the field of chemistry there are curious substances known as catalysts. Curious in that their mere presence together with other substances causes a violent reaction in which the catalysts themselves don't take part. In a way, they simply stand on the sidelines untouched by the reaction they cause, unaware what they've done. When it's all over. There are catalysts too among human beings. And on the night of February 3, on the terrace of a resort hotel in Miami Beach, a 17 year old girl named Arlene Foster was about to become one. She didn't know it, of course, and like catalysts in chemistry, she never would. But there on the terrace, in a simple conversation with her teenage date, Arlene was preparing to step into the role.

[Vic Stanfield]

Orville.

[Arlene Foster]

Yeah?

[Vic Stanfield]

There's. There's something I better tell you. I want to be fair, Orville.

[Orville]

Look, Harley, if it's another confession, I'm just not interested. I'm crazy about you yarn.

[Vic Stanfield]

That's just it. That's why I have to tell you. No, Vic's coming back, Orville. It's only a few weeks off.

[Thalia]

Vic who?

[Vic Stanfield]

Vic Stanfield, the orchestra leader that was here last year. He's bringing his van here to the hotel just as he promised me.

[Orville]

Well, what's so important about that?

[Vic Stanfield]

But I don't want to deceive you, Orville. You see, Vic and I love each other. Huh?

[Orville]

What are you talking about? Why, he's an old man. He must be 30.

[Vic Stanfield]

How? Orville, sometimes love doesn't pay any attention to ages. You see, before he left last season, Vic and I had an understanding.

[The Whistler (Narrator)]

At that time, Vic Stanfield was many miles From Miami beach, many miles away from the Catalyst. Vic was in Cleveland, Ohio, attending a funeral service. Moving up when it was over to console the widow of a dear friend of his.

[Thalia]

Mrs. Westover, I hope you know how I feel.

[Vic Stanfield]

Oh, you're Mr. Stanfield, aren't you?

[Thalia]

Yes, Vic Stanfield. I was one of Carl's best friends.

[Vic Stanfield]

Oh, yes, of course, Mr. Stanfield.

[Thalia]

If there's anything I can do. Perhaps drive you home.

[Vic Stanfield]

Well, that's very nice of you, Mr. Stanfield.

[Thalia]

My car is right out front. Here we are. You all right?

[Vic Stanfield]

Yes. How was I?

[Thalia]

Wonderful.

[Vic Stanfield]

Wasn't easy. You don't think any of them.

[Thalia]

No. Nobody suspects me? No.

[Vic Stanfield]

Well, what now?

[Thalia]

Be married in a month. We'll go south with a band and spend our honeymoon in Miami.

[Vic Stanfield]

Oh, that seems awfully fast.

[Thalia]

Look, sweetheart, let's not get into that again. We could hold a ceremony right in that church 10 minutes from now. Let him talk all he wants.

[Vic Stanfield]

But Vicky, don't you think that clean baby, there's not a trace, not a scrap of evidence.

[Thalia]

Just relax, baby, relax. You left your husband's fatal accident up to me. Now do me another favor. Let me take care of the future too.

[Signal Oil Announcer]

With the prologue of the Human Catalyst, the Signal Oil Company is bringing you another strange story by the Whistler. Well, friends, since this is St. Patrick's Day, you've no doubt been getting your share of Killarney with your radio program. I had thought of describing how your friends would turn green with envy when you power your car with signal gasoline. Because today's Signal drives the pings and sluggishness out of a motor. Like St. Patrick drove the snakes out of Ireland. Or I thought of reminding you that your wallet would feel lucky as a four leaf clover because of signals good mileage. Ah, but sure, in Begora, when you buy gasoline, there's really just one thing that matters. You want to be sure that you're getting the tops in quality. The gasoline that gets top efficiency from your motor. And that's something your own speedometer can tell you. Because when your motor runs more efficiently, you not only enjoy quicker starting, faster pickup and smoother knock free power, but also more mileage. Good reason why we're so proud of Signal's famous mileage. And why we say to be sure of the tops in gasoline quality. There are just two things to remember. One, it takes extra quality to go farther. And two, Signal is the famous go farther gasoline. And now back to the Whistler.

[The Whistler (Narrator)]

Yes, it was clean, Vic. So clean that you and Thalia could flaunt your love at them, Throw it in their faces. Let them think and talk all they wanted. Because you're sure that in killing Carl Westover, Vic, you committed the perfect murder. It's a month almost to the day when you and Thalia drive up the Lakeshore highway to the little town of Fairport to be married by a justice of the peace. And that night, you're on your way to Miami Beach. In the new life that lies ahead for both of you and in your complete happiness together, there's certainly no thought that each mile on the train brings you closer and closer to the Catalyst.

[Arlene Foster]

He's on his way.

[Vic Stanfield]

Way, Orville. Vic's on his way back to me.

[Orville]

Will you cut it out, Arlene? You're just being silly.

[Vic Stanfield]

What's the matter, Vicki?

[Thalia]

Huh?

[Vic Stanfield]

You're so quiet.

[Thalia]

Oh, I don't know. A little tired, I guess.

[Vic Stanfield]

I'm tired too.

[Thalia]

Happy, Vicky? You bet you. You know I am.

[Vic Stanfield]

You're not worried or anything? I mean, about Carl?

[Thalia]

Look, sweetheart, forget Carl. He's gone. He's off the books.

[Vic Stanfield]

There's just you.

[Thalia]

And that's why it's so perfect. Because we're the only two people who know. The only ones we'll ever have to worry about.

[Vic Stanfield]

And with us forgetting it, right?

[Thalia]

Right. It's all over. Your life in Cleveland. Everything just like it never happened. Baby.

[The Whistler (Narrator)]

Oh, baby, we got a lot of living to do.

[Thalia]

A long way to go together. First stop, Miami Beach.

[The Whistler (Narrator)]

So there it is, Vic. The aftermath of a murder you're certain is perfect. The happily ever after part of the story. It's like a chemical solution with two ingredients. Quiet and lurking in a stage of precarious peace awaiting the Catalyst. Naturally, you don't know it, babe, but as you and Thalia arrive at Miami beach and check into your hotel suite, the little human catalyst, Arlene Foster, very close to you now, is suffering from

[Thalia]

some very shocking news.

[Vic Stanfield]

Arlene, what in the world is the matter with you? I'm sorry, Mother. You haven't eaten a decent meal for a week.

[Arlene Foster]

You wouldn't understand.

[Vic Stanfield]

Well, I have a pretty good idea what it is. The same thing happened last year about this time, didn't it? It's never happened before. Anything like this, that is. If I'd have known it been like this when your father told me he was going to manage this hotel, I'd have stayed up north. Who is it this time? The bass player? The tenor saxophone? Or is it Victor Stanfield himself? Oh, can you do it?

[Lieutenant Harrison]

How can you save it?

[Arlene Foster]

Wait a minute, Arlene.

[Vic Stanfield]

I wonder if boys are any easier.

[The Whistler (Narrator)]

Eileen walks slowly down the hall, stops at the telephone, begins to think.

[Vic Stanfield]

Mary. Dick married. But he couldn't love her. Somebody ought to tell her what she's doing to Dick. She has no right to be his wife. He doesn't love her.

[Arlene Foster]

He can't possibly love her.

[Vic Stanfield]

Somebody ought to call her on the telephone. The telephone. The telephone. Excuse me, vic. I'll get it.

[Orville]

Sure.

[Vic Stanfield]

Hello, Mr. Stanfield? Yes. There's something you should know, Mr. Stanfield.

[Lieutenant Harrison]

About your husband.

[Vic Stanfield]

Who is this?

[Lieutenant Harrison]

I'd rather not say. I'm calling to tell you you made a very serious mistake. A dangerous one.

[Vic Stanfield]

Just a minute.

[Lieutenant Harrison]

Victor doesn't love you, Mrs. Stancion. He never did. He's been in love with someone else for a long time.

[Vic Stanfield]

If you think I'm going to listen

[Lieutenant Harrison]

to you, that's all I have to say. You may not believe it now, but you'll find out soon enough. I've told you the truth.

[Vic Stanfield]

Well, there's something you ought to know, whoever you are. I. Hello?

[Lieutenant Harrison]

Hello? Hello?

[The Whistler (Narrator)]

All the.

[Vic Stanfield]

In a way, it's kind of funny. I tell Vic, darling. I had to run right up the minute I got off the plane.

[Thalia]

Well, I'd have shot you if you hadn't.

[Vic Stanfield]

Jeannie. Lord, it's so good to see you.

[Signal Oil Announcer]

It seems like a year since we.

[Vic Stanfield]

Oh.

[Thalia]

Oh, Thalia, darling, this is Jeannie Long. I've mentioned her to you. Used to sing with a band.

[Vic Stanfield]

How do you do?

[Thalia]

Yes, Jeannie's back with us for this engagement, darling. Been a long time, huh, Jeannie?

[Vic Stanfield]

You know, Thalia, we two practically started out together. Is that right, Jeannie? Mm. Well, I better be getting down to my room. I got to unpack and. You know how it is. Take care, Vicki. See you in an hour or so.

[Thalia]

Yeah. Yeah, you bet.

[Vic Stanfield]

He's a lovely girl.

[Signal Oil Announcer]

Yeah.

[Narrator/Announcer]

Yes.

[Thalia]

Well, let me see. Where was I? Yeah. Yeah. Here we are.

[Vic Stanfield]

What's that?

[Thalia]

This is a property assignment, darling. I meant to bring it up before this, but I just didn't get around with. Look, I think we'd better put your property, all your assets, in fact, in my name.

[Vic Stanfield]

What?

[Thalia]

Don't look at me like that, darling. I'm not after your money. It's a legal thing, dear. A way of protecting your share of Carl's estate from any stray creditors that he happened to leave kicking around. You know, I had the papers drawn up yesterday afternoon and I. What's the matter, Terry?

[Vic Stanfield]

Vic, give me a cigarette, will you?

[Thalia]

Sure.

[Vic Stanfield]

Thanks. Now, tell me, how long have you been thinking about this? Thinking about it? Why? I'm just curious. I think I have a right to be. There's $180,000, roughly, and property in Cleveland.

[Thalia]

I don't like the way you said that.

[Vic Stanfield]

Then I'm sorry, but I. Maybe better explain it more carefully.

[Thalia]

I was about to, my darling, when that phone call. Who was that call, Fonte.

[Vic Stanfield]

It was nothing important.

[Thalia]

No, I think it was. Look, who do you know in town, Daniel? Who'd be calling you on the telephone, huh?

[Vic Stanfield]

Worried, Vicky? Maybe Because I've decided I won't tell you who it was. And as far as those papers go, I just don't think I'll sign them.

[Thalia]

Any particular reason?

[Vic Stanfield]

I don't know. Intuition, maybe.

[Thalia]

I think it's something else. There's no point going into that now.

[The Whistler (Narrator)]

I'm due downstairs in 10 minutes. Good night. The reaction's well underway now, V. Something's wrong. You know it. You can feel it gnawing away inside you the rest of the evening. But you get hold of yourself when the job's over.

[Vic Stanfield]

Yes.

[The Whistler (Narrator)]

It's ridiculous letting your imagination run away like that. Failure's all right. She's got to be all right. She has your life in her hands. It's almost two in the morning when you let yourself into the dark apartment on the 10th floor hoping she's thought it over too. That the strange way she turned on you when you mentioned the assignment papers didn't mean what you were afraid of.

[Vic Stanfield]

Me.

[Thalia]

Awake?

[Vic Stanfield]

Good.

[Thalia]

Glad you are.

[Vic Stanfield]

No, no.

[Thalia]

Skip the light. Look, be you. There's a few things we've got to get straight. You.

[Vic Stanfield]

You sound very determined.

[The Whistler (Narrator)]

I am.

[Thalia]

Look, we can't afford to have any secrets between us then, have we? I think we have. That phone call, for instance. Why won't you talk about it?

[Vic Stanfield]

What are you doing to me? Maybe I should ask you the same question. What are you doing to me? Why is it suddenly necessary to sign everything over to you? That property's mine. I intend to leave it that way.

[Thalia]

Well, that's it. That's what's eating.

[Vic Stanfield]

Nothing's eating, baby. But you never really understood me. I can be practical too.

[Narrator/Announcer]

Oh, sure, sure.

[Thalia]

Of course, you don't want to overlook a couple of other little considerations.

[The Whistler (Narrator)]

Like marriage. Like love.

[Vic Stanfield]

Love?

[Thalia]

Yeah, love. Sound like you doubt that. Tell you, maybe you ought to add things up again. I plan the whole thing. I lie, I commit murder for you.

[Vic Stanfield]

I see it straight through. Then suddenly it isn't enough. You're not satisfied. I didn't say that. I Understand your position quite clearly.

[The Whistler (Narrator)]

Then it's worse.

[Thalia]

How can you talk this way when

[Signal Oil Announcer]

I'm out on a limb alone?

[Thalia]

Not a chance to tie you into

[Lieutenant Harrison]

any part of it.

[Thalia]

You try to tell me nothing has changed, that you're just being practical.

[Vic Stanfield]

What kind of understanding is that, Celia? Is it any good for me? Is it good for convincing? Very sincerely, only through it all, I can hear only one thing. The money I want. But there's a very good reason, Bailey. Yes, so I've discovered. Good night.

[Thalia]

Wait a minute.

[Vic Stanfield]

Good night.

[Thalia]

Look, mister.

[Signal Oil Announcer]

So when you hire a private detective, you at least have to tell him

[Thalia]

what the job's all about? Look, I've told you all you need to know, Mr. Shannon. What's wrong with your wife? You afraid she's thinking of suicide or something? I don't know. I don't know. Look, if you want the job, simply do as I ask. Follow her wherever she goes. Follow her and keep me informed. Okay, mister. She'll never leave that hotel without me tagging right along.

[The Whistler (Narrator)]

It's a stalemate.

[Thalia]

Now, both of you.

[The Whistler (Narrator)]

Quiet, feeling the tenseness in the air, waiting for something to happen. Then, about a week later, on a

[Thalia]

downtown street, Sham gets careless.

[Vic Stanfield]

What do you want? Why are you following me? Now, look, lady, don't try to deny it. I saw you yesterday, too, and the day before that.

[Thalia]

I don't know what you're talking about.

[Vic Stanfield]

You're doing it for him, aren't you? My husband.

[Signal Oil Announcer]

Listen, lady, you're talking crazy.

[Thalia]

Why would your husband have someone following you?

[Vic Stanfield]

There's a good reason.

[Thalia]

Like what?

[Vic Stanfield]

Money makes people do things like this.

[Thalia]

Money?

[Vic Stanfield]

My money. It was his.

[Thalia]

If what?

[Vic Stanfield]

If anything happened to me. Why don't you do it now?

[Arlene Foster]

What are you waiting for?

[Thalia]

Excuse me, lady. I'd better go see a guy.

[The Whistler (Narrator)]

Look, be reasonable, Shan.

[Signal Oil Announcer]

Why didn't you level with me? Where do you get off dragging me in on a dirty deal like this?

[Thalia]

But what's wrong?

[Signal Oil Announcer]

Everything. The whole setup. I like money as much as the next guy, see? And I need jobs.

[The Whistler (Narrator)]

But I'm stepping out of this one, mister. Right now.

[Signal Oil Announcer]

I'm getting out of here.

[Thalia]

You don't even have to pay me. Look, I don't get you, Shan.

[Lieutenant Harrison]

What could.

[Signal Oil Announcer]

You heard me.

[The Whistler (Narrator)]

I'm getting out. It's almost out in the open now, isn't it?

[Thalia]

But not quite.

[The Whistler (Narrator)]

Because you're not even sure what's happening. Not able to talk it all out with the one person you should go to with a problem. Because right now she is that problem. And you're alone. That's what's so terrifying, isn't it, Vin?

[Signal Oil Announcer]

You're complete helplessness.

[The Whistler (Narrator)]

And you have no way of knowing, of course, that. Now, tonight, the band assembles on the platform as you check quickly through the evening's dance program. Failure is facing Jeannie Long in her dressing room.

[Vic Stanfield]

That's a very strange question, Vania, under the circumstances. I don't think it is. In any case, how I feel about Vic is my own business. You can't expect me to believe you've never been in love with him. Pretty silly. Yes, I think so. I think you're still in love with him. Maybe. But why do this the hard way, Tat? Why not ask Vic how he feels? I know how he feels. Well, you leave me speechless, darling. I'm not surprised, Jeannie. But Vic might be. I'm going to settle a few things for him tonight. Vic, could I talk to you a minute?

[Thalia]

Not right now, Jamie, please. Okay, boys, let's take it one, two.

[The Whistler (Narrator)]

It's a struggle, isn't it, Vic? As the job begins, as you try to concentrate on the music and the piano in front of you while your mind is on other things.

[Lieutenant Harrison]

The money, the property.

[Vic Stanfield]

It's mine.

[Lieutenant Harrison]

I intend to leave it that way.

[The Whistler (Narrator)]

Those are the raw materials, aren't they, Vic? Something for a man's mind to work on. Particularly a mind like yours with murder lying underneath everything else. Yes, you can close your eyes there at the piano and hear things like this.

[Lieutenant Harrison]

I love you. Don't be ridiculous, Vicki Parlanois. I wanted someone to do a job for me, and you came along. So you let me. Go ahead. The money, darling. The property in Cleveland. I want them. I got them. And I won't have to pay for it, will I, Vicky?

[Vic Stanfield]

No. No, she won't get away with.

[The Whistler (Narrator)]

You're trembling, aren't you, Vic? Sitting there, terrified by your own thoughts. Almost afraid to think of what you might have to do to escape

[Vic Stanfield]

intermission. Vic. Oh.

[Thalia]

Oh, yeah. Yeah, sure, Jake.

[Vic Stanfield]

And now you're going to listen to me. It's Thalia.

[Thalia]

What about Thalia?

[Arlene Foster]

Well, she said the oddest thing.

[Vic Stanfield]

Something about settling things for you tonight.

[Thalia]

I knew it.

[Vic Stanfield]

What?

[Thalia]

That little Vic.

[Vic Stanfield]

What is it?

[Thalia]

Settle things, huh?

[Vic Stanfield]

I'll see about that.

[The Whistler (Narrator)]

You know now you've got to kill her. And it has to happen fast. In the lobby, outside the ballroom. You stop. Remember something that private detective said about suicide?

[Thalia]

You can make it look like suicide,

[The Whistler (Narrator)]

Vic, just by taking the time to set it up.

[Vic Stanfield]

Getting yourself a witness.

[The Whistler (Narrator)]

Yes. The telephone girl.

[Thalia]

Will do. Ethel.

[Vic Stanfield]

What is it, Vic?

[Thalia]

My wife. Is she in her room?

[Vic Stanfield]

Well, I think she went up just a little while ago.

[Thalia]

Ethel. Was she all right? Did she say anything about not disturbing her?

[Arlene Foster]

I don't know. Is there something wrong?

[The Whistler (Narrator)]

I don't know. I don't know.

[Thalia]

She's been very upset lately. I don't know what it is, but the way she's acting, I'm afraid she might do something to herself.

[The Whistler (Narrator)]

I. I better get up there right away. You step back, remembering somehow that you

[Signal Oil Announcer]

have your own key.

[The Whistler (Narrator)]

Fumble. Nervously opening the door, you cross swiftly to the bedroom.

[Thalia]

Glance in, wonder where she could be.

[The Whistler (Narrator)]

Turning, you catch sight of the doors to the terrace.

[Thalia]

They're both standing open.

[The Whistler (Narrator)]

A slight breeze rustling the drapery. Failure.

[Thalia]

I just want to talk.

[Vic Stanfield]

What's the matter?

[Signal Oil Announcer]

Thalia?

[Vic Stanfield]

What are you doing out there on the terrace? Don't you come near me. Can't do this. But we're gonna talk.

[The Whistler (Narrator)]

Thalia. Don't back away from me.

[Vic Stanfield]

Look out. Stop the radio. Go over.

[Signal Oil Announcer]

The Whistler will return in just a moment with a strange ending to tonight's story. Meantime, another word about those Oscars, which the movie industry is going to award next Saturday. On last week's Whistler, I mentioned that if they gave Oscars for gasoline, Signal would no doubt win the honors for outstanding performance. Well, by the same token, the Oscar for best supporting role would surely go to Signal oil dealers for the many valuable safety services which they offer free. For instance, this month, all signal service stations throughout the west, from Canada to Mexico, will check your fan belt and radiator hose without charge. The chances are it's been a long time since your radiator hose and fan belt were checked. Because most drivers, and most service station operators, too, never give a thought to these two little items until they break down completely and leave you in real trouble. Moreover, if the inspection shows your fan belt or radiator hose to be in dangerous condition, signal dealers can, in most cases, replace them while you wait. So, for your own peace of mind and carefree miles during the months ahead, drop into a signal station. This week for this free signal safety service. Your friendly signal dealer will enjoy this opportunity to demonstrate to you the more thorough, more conscientious service cars get at dealer owned signal service stations. And now, back to the Whistler.

[The Whistler (Narrator)]

It's all over, Vic. In one terrible moment, Aalia falls back over the terrace rail. And your mind whirls with a thought. That here is the end product of your perfect murder. You don't know it, of course. But the human catalyst has done her work well. And all that's left as you draw back from the rail with a shudder, is the realization that your own life is at stake. If you don't get out of these rooms before anyone comes up, you're sure there's time. But you cross swiftly toward the door. Thankful that you left the idea of suicide with a switchboard girl.

[Thalia]

She's got to back you up then.

[The Whistler (Narrator)]

The only hope you have now.

[Thalia]

Mr. Stanfield, that I ran into you. I'm Lieutenant Harrison, Miami Police. I don't understand. Afraid I don't either. Stanfield. Your wife inside? I don't know. I just stepped in the door myself. Oh, well, have a look, will you? You see, she called us tonight. She what? Called us. She was quite upset. Oh. Oh, I, I, I know she's been acting strange lately, but I didn't. What she had to say was quite. But maybe I better step inside.

[Vic Stanfield]

Yeah, sure, but I. Look, Lieutenant, what's this all about?

[Thalia]

I, I can't understand what.

[Narrator/Announcer]

You want me to get in?

[Thalia]

Yeah, go ahead. Yes. What? Uh huh. That must have just happened. No, it's all right. I'm with her husband now. Well, Stanfield, maybe you already know this. Just for the record, that call was to let us know that your wife's body is out on the pavement ten floors down. Oh, no, that's the terrace over there. Pushed her right over the rail.

[Vic Stanfield]

Oh, please, it was an accident. I can prove it was an accident.

[Thalia]

Maybe you can, Stanfield.

[Alacran]

I don't know.

[Thalia]

You'll have your chance. Of course, when she called us just 20 minutes ago, she said she was certain you were going to kill her.

[Orville]

Gee, Arlene, I can't get over it.

[Vic Stanfield]

What over it?

[Orville]

The papers today about Big Stanfield being convicted of murder. The Miami police and that private detective both telling the jury Mrs. Stanfield said she was afraid he was gonna kill her.

[Vic Stanfield]

Oh, yes. I wonder why he did such a thing.

[Orville]

I don't know. Only, gosh, the whole thing must have hit you pretty hard, Arlene. I mean, the way you felt about Stanfield.

[Vic Stanfield]

Well, you know, Orville, it was terrible. But as far as anything personal between Vic and me, I, I guess I was just silly. See, Orville, there's something you should know.

[Orville]

You mean about our going steady again?

[Vic Stanfield]

No. Rodney Maynard and his Men of Music are coming here next week.

[Thalia]

Yeah, I know that.

[Vic Stanfield]

Yes, but Orville, there's something I've never told you about me and Rodney.

[Signal Oil Announcer]

Let that whistle be your signal for the signal Oil program. The whistler each Wednesday night at this same time, brought to you by the Signal Oil Company. Marketers of Signal gasoline and motor oil and fine quality automotive accessories. Signal has asked me to remind you to get the most driving pleasure. Drive at sensible speed, be courteous and obey traffic regulations. It may save a life, possibly your own. Featured in tonight's story were Betty Lou Gerson and Tony Barrett. The Whistler was produced by George W. Allen with story by Joel Malone and Harold Swanton and music by Wilbur Hatch, and was transmitted to our troops overseas by the Armed Forces Radio Service. Next Wednesday for a full hour of mystery over most of these stations. Tune in a half hour earlier. Enjoy the saint as well as the whistler. Mrs. Marvin Miller. Speak.

[The Whistler (Narrator)]

Speaking.

[Signal Oil Announcer]

This is CBS, the Columbia Broadcasting System.

[Narrator/Announcer]

Tired of the everyday grind? Ever dream of a life of romantic adventure? Want to get away from it all? We offer you escape.

[Escape Announcer]

Escape designed to free you from the four walls of today for a half hour of high adventure.

[Narrator/Announcer]

You are kneeling in the church of a Caribbean village, seeking the sanctuary it might offer. While slowly walking down the aisle, carefully studying each bowed head, is the brute of a man who has come to kill you.

[Escape Announcer]

Listen now, as escape brings you Les Crutchfield story. Violent night,

[Thalia]

Huh? Huh?

[Narrator/Announcer]

I came awake suddenly. Wide awake. It's a trick you learn around the back countries of the Caribbean if you want to stay alive. I didn't move. I didn't make a sound. Just stared into the darkness and listened. Then it came again. Somebody was on the veranda. I slid off the cot, reached for my pistol on the table and stood up barefooted. I moved quietly across the room and stopped by the shutters.

[Arlene Foster]

Senora. Gravy.

[Narrator/Announcer]

Who is it?

[Arlene Foster]

Pepita. It is Pepita. Pepita, I am come to warn you. Is terrible danger.

[Narrator/Announcer]

Are you alone? All right, Wait a second.

[Arlene Foster]

Quickly.

[Narrator/Announcer]

What's wrong? What's the matter?

[Arlene Foster]

Look toward the village.

[Vic Stanfield]

Good.

[Arlene Foster]

Monte Miguel.

[Narrator/Announcer]

What? Fire. What's burning?

[Arlene Foster]

The estacion of the police. The federalista army barrack. Other places. It is a revolution, senor.

[Narrator/Announcer]

Revolution. Who is it? Who's behind it?

[Vic Stanfield]

Alacran.

[Narrator/Announcer]

What?

[Arlene Foster]

He has come out of the jungle again. 1000 men are follow him. And now more from the village. He has guns, trucks, cars, radios. He is called himself governor of the district.

[Narrator/Announcer]

Governor? He won't last 48 hours.

[Arlene Foster]

Everyone say it is revolution. All over the country. You must leave your plantation and go quickly.

[Narrator/Announcer]

What? Peter?

[Thalia]

You.

[Narrator/Announcer]

You think he still remembers?

[Vic Stanfield]

Alacran will never forget. Not ever. Not before one of you is dead.

[Narrator/Announcer]

Yeah, maybe you're right. All Right. Thanks, Pepita. Thanks for everything. Ten minutes later, I lay hidden in a clump of bamboo by the irrigation ditch, 30 yards from my house, watching a convoy of army trucks swing in from the highway and roar up the road toward the plantation. I could have struck out, then run away. But I had to know the odds, know whether a Lakran was making it personal, whether he still remembered. The truck skidded to a stop. Men with rifles piled out, circle the house. Spotlights cut through the night, lit up my bungalow, probing at the shutters. But I didn't see him until he stepped into the circle of lights and called out.

[Alacran]

Mr. O'. Grady. Mr. Barry O'. Grady.

[Narrator/Announcer]

Alacran.

[Alacran]

You're wasting our time, Mr. O'.

[Signal Oil Announcer]

Grady.

[Alacran]

You may as well come out educated

[Narrator/Announcer]

in the States, but as cunning and cruel as the wildest Indian in the bush.

[Alacran]

Are you afraid of me, Mr. O'?

[Thalia]

Grady?

[Alacran]

Are you afraid to come out and greet an old friend who has not forgotten you for a minute?

[Narrator/Announcer]

Alacron, leader of a revolution. Self styled governor of the district. And he'd taken time out to lead this raid personally. Yes, Pepito was right. He hadn't forgotten. He blasted the bolt off my door with a tommy gun. And then with a half a dozen of his men, he plunged into the house. It was time to get out. I'd wanted to know the odds, and now I knew them. I didn't have a chance. I ran for nearly two miles through my coffee groves, along the banks of the ditches, through the patches of bush. Before I finally played off. I was beside a narrow road leading back into the hills. I dropped down to the edge of it and tried to get my wind back. A Lakron. For two years he'd waited, and now he was coming after me. He'd been trying to start a revolt. Then I dragged him away from my workman, taken his gun away from him and beaten him to a pulp. And now he was back in control of the whole district with a wolf pack at his heels. And then suddenly I noticed the headlights of a car coming down the road from the hills. The lights were too close together and too low to the ground for an army truck. There were ranchers up in the hills, resorts. It might be a private car. It was worth a chance. I worked feverishly. The car was close now and moving fast. I gathered an armful of brush, threw it into the rope, struck a match and set fire to it. Then I dropped down in the ditch and waited. All right, easy now.

[Lieutenant Harrison]

Don't move.

[Arlene Foster]

Who are you? What do you want.

[Narrator/Announcer]

I want your car.

[Arlene Foster]

No, it isn't. Let me go.

[Signal Oil Announcer]

Oh, no, you don't.

[Narrator/Announcer]

Let go of that.

[Lieutenant Harrison]

Stop it.

[Arlene Foster]

Stop it. You're hurting me. Take your hands off.

[Escape Announcer]

Thanks.

[Narrator/Announcer]

Well, that's a lot of gun for a lady. I will take care of that.

[Arlene Foster]

You fool. Do you know who I am?

[Narrator/Announcer]

No.

[Arlene Foster]

I am the daughter of the governor of this district.

[Narrator/Announcer]

Your what?

[Arlene Foster]

It's true. I am the daughter.

[Narrator/Announcer]

I'd heard he had a daughter. But who'd ever expect that fat pig to have one that looks like you?

[Lieutenant Harrison]

I dream.

[Arlene Foster]

Promise you, senor, if you go on with this, I will see that you are shot against a wall.

[Narrator/Announcer]

You're too late. Your father already has that idea. More likely a worse one. You know, I think you're going to come in awfully handy before morning. What do I call you? What's your name?

[Arlene Foster]

Maria.

[Narrator/Announcer]

All right, Maria, let's get this straight. I got one chance in a thousand of staying alive. And if I can help that chance, I'll do anything. You understand?

[Arlene Foster]

No, please.

[Narrator/Announcer]

Now, we're gonna get out of here. We're gonna get out together. Whatever happens, your father gets me and I get you. All right, now get the car started. We came off the side road two miles from Monte Miguel, crossed the main highway and took the old road towards San vicente. It was 110 miles to the capital. But the sports car was fast. It could outrun any army vehicle Alcatraz men might have. There was a good chance he hadn't yet blockaded the San Vicente Highway. It was a good dream. It lasted for two miles. Then it popped like a soap bubble

[Arlene Foster]

in the road ahead. Senor. Lights, trucks, men moving. What do you want me to do?

[Narrator/Announcer]

Brakes. Hit the brakes. Come on and get this thing turned around and make it fast. All right, come on, snap on it. Let's get out of here. Come on. That was close. Plenty close. Well, we're still lucky. We could have barged straight into that. They blocked us, but at least they didn't get us. And we still got a chance of circling back.

[Thalia]

What?

[Narrator/Announcer]

What's wrong? What is it?

[Arlene Foster]

I don't know. I'm not doing anything to them.

[Narrator/Announcer]

Yo, wait a minute. Yeah. Yeah, I can smell it. A bullet must have smashed up in the gas tank.

[Vic Stanfield]

We.

[Arlene Foster]

We're out of petrol.

[Narrator/Announcer]

Yeah. Get it over to the side. No, farther. Clear over to the canal bank. The irrigation ditch.

[Signal Oil Announcer]

Go on.

[Alacran]

All right.

[Narrator/Announcer]

Come on. Get out. Come on. Hurry.

[Arlene Foster]

What are we going to do?

[Narrator/Announcer]

Here, give me a hand. We're going to get it Rolling.

[Orville]

Come on.

[Narrator/Announcer]

Into the m. All right, come on, let's go.

[Arlene Foster]

What do you mean?

[Narrator/Announcer]

They'll be along here any second. Find where we sank the car, come after us. We don't have much time. Now, come on. Let's get across that ditch in the water.

[Arlene Foster]

No, I will not do it. I will not go into the water.

[Narrator/Announcer]

Oh, you won't, huh?

[Alacran]

All right.

[Lieutenant Harrison]

Put me down.

[Arlene Foster]

Put me down. Stop.

[Narrator/Announcer]

Hold your breath. Now, just take it easy. Quit fighting and relax, will you? I'll get you across. It's only 20ft wide. All right. Easy now. All right, here we go.

[Lieutenant Harrison]

Now.

[Thalia]

Grab the bank.

[Narrator/Announcer]

You go.

[Arlene Foster]

Oh, it takes me all my life. I'm going to kill you.

[Narrator/Announcer]

Maybe not. I might have to kill you first. Now, come on.

[Arlene Foster]

I am not going into that jungle with you. No matter what you do to me, I am not going.

[Narrator/Announcer]

Come on, move. Alacran had outmaneuvered me, outflanked me. There was no use trying to break south toward the capital. He had the whole area sewed up. So I decided on a gamble. I turned back, head for the last place on earth he'd look for me. The village of Montemigelazo. It was nearly midnight when we entered the village. I kept a tight grip on Maria's arm and hurried her through the back streets and alleys, heading toward Peter's room on the other side of town. Though we didn't make it, a patrol of rebels came around the corner and moved toward us. We couldn't turn and run. We couldn't go on. We were trapped. But we'd stopped in front of a house built flush against the street. The door was only a few feet away. I stepped over and tried it. It was unlocked. I drew my gun and pushed the door open. All right, come on. There's no one in Insight. Quick.

[Arlene Foster]

What are you going to do?

[Narrator/Announcer]

Wait for the patrol to pass. Now be quiet. Here they come. Not a sound, maria. That was lucky. Well, double lucky, in fact. The head man here has gone out and left some clothes all ready for me. Pantalones, camisa, serape, sombrero. Now, if we can find something for you.

[Arlene Foster]

What do you mean?

[Narrator/Announcer]

Well, dressed like we are, we don't have a chance. Ah, here. Here. This ought to do it.

[Lieutenant Harrison]

Catch it.

[Narrator/Announcer]

Now, here's a shawl for you. You can throw it over your head and keep it around your face.

[Arlene Foster]

If you think I am going to

[Narrator/Announcer]

change my clothes, get behind that curtain and do it any way you want. But get into that dress and do it fast. In a few Minutes we were back into the marketplace, walking rapidly. And then as we passed the great doors of the church, I froze in my tracks. Alikrand. He was launching in the back of a touring car. Fat and evil. Here, this way.

[Vic Stanfield]

Where?

[Narrator/Announcer]

Enter the church. If he sees me, we're finished. Slow and solemn. All right, up the steps and keep your head down. Odd. Half scared, the way the villagers go in.

[Lieutenant Harrison]

All right.

[Narrator/Announcer]

Up toward the front. Hu. All right. In here. All right. This is far enough. Now. Kneel down. Well, we're safe for the moment.

[Thalia]

But I.

[Alacran]

If you please.

[Narrator/Announcer]

Don't move. Maria. Don't cry out, the guns pressed against your side. Keep your head down and pretend you're pretty.

[Thalia]

Praying.

[Narrator/Announcer]

Better yet, really pray.

[Escape Announcer]

You are listening to Violent Night, tonight's presentation on Escape. Next Monday night on CBS Radio, Ronald Reagan stars in the Lux Radio theater adaptation of Carbine Williams with Wendell Corey and Gene Hagen in their original screen roles. Next Monday night, when you will also want to hear Tyrone Power in Suspense's production, the Guilty Always Run. And now Escape and the second act of Violent Night.

[Narrator/Announcer]

The Padre, white haired, an old melt at the altar and went on with his prayer, not hearing the summons from the back of the church. Some of the kneeling villagers turned to look and then turned back quickly beneath my serapi. I kept the gun pressed tight against Maria's sword. Alikran was walking up the aisle toward the front of the church, moving slowly and deliberately, stopping to glance along each row and study the kneeling worshipers.

[Thalia]

You cannot come here with arms, my son. This is a place of peace.

[Alacran]

And I am a very peaceful man, Padre. As long as I am not denied

[Thalia]

the things I want. What is it you want?

[Vic Stanfield]

A man.

[Alacran]

I am told there are some woman with him. They may have come in here. I will only need a moment more

[Thalia]

to finish checking your followers. No, I cannot permit that, Padre.

[Alacran]

You know who I am. Now, we can be friends or we can be enemies.

[Thalia]

As you choose, of course. Burning the church is not to my like. Go wait outside if you wish. I am on the point of dismissing the congregation. You may watch them as they leave. All right.

[Alacran]

You are clever at compromise, Father.

[Thalia]

I'm sure we will learn to understand each other. Adios. La misa estater minada. That is all, my children. Vayan con Dios,

[Narrator/Announcer]

My son. What is it, Padre?

[Captain]

This way.

[Thalia]

Follow me.

[Narrator/Announcer]

Both of you.

[Thalia]

Come quick.

[Narrator/Announcer]

Come on, Maria.

[Arlene Foster]

Yes,

[Narrator/Announcer]

In here. We are taking a big chance, Padre. If he finds out you are in trouble.

[Thalia]

You have heard of sanctuary, my son? The sanctuary of the church?

[Narrator/Announcer]

Yes, of course.

[Thalia]

Unfortunately, I cannot assure you that sanctuary. But perhaps I can help you in some small way to find your own sanctuary.

[Narrator/Announcer]

Thank you, Padre. In a few minutes, when everyone has gone, he will be search.

[Thalia]

Who is it?

[Alacran]

Lacroix.

[Thalia]

One moment.

[Alacran]

I am informed that you are hiding

[Vic Stanfield]

a man and woman from the congregation.

[Alacran]

Open this door.

[Thalia]

Have patience. Now, Here, behind the desk, there is a way out. All right, go now, both of you, quickly.

[Narrator/Announcer]

The passage opens on an alleyway behind the church.

[Arlene Foster]

Open.

[Alacran]

Now.

[Thalia]

Worry my children.

[Narrator/Announcer]

Thank you, Padre.

[Thalia]

Okay. Well,

[Narrator/Announcer]

When we came into the open alleyway, we were on the very edge of the village, on a crooked path that ran between the walls and backs of the buildings on one side and the dark, dense mass of the Valle Diablo jungle on the other. But for a moment, we were safe.

[Arlene Foster]

Barry.

[Narrator/Announcer]

What?

[Arlene Foster]

Back there in the church. Would you really have killed me?

[Narrator/Announcer]

Look, I'd hate to do anything to hurt you, but if I have to, I will.

[Arlene Foster]

Why do you hate me so much?

[Thalia]

Hate you?

[Narrator/Announcer]

I don't hate you. Why should I hate you? You're my ace in the hole. I've got nothing against you personally. You just picked the wrong man for a father, that's all.

[Arlene Foster]

El Gringo.

[Narrator/Announcer]

Wait. Hold it.

[Lieutenant Harrison]

El Gringo.

[Arlene Foster]

Barry, don't shoot. It's only a child.

[Narrator/Announcer]

Yes, it's only a child, but he knows who we are. And you'll have the whole town out here in two minutes. There's no choice left now. Come on.

[Arlene Foster]

What are you doing? Where are we going?

[Narrator/Announcer]

Into the jungle, into the Valle Diablo.

[Lieutenant Harrison]

Barry.

[Narrator/Announcer]

Yes.

[Arlene Foster]

I got to rest. I can't go on much further.

[Narrator/Announcer]

All right.

[Escape Announcer]

All right, Maria.

[Narrator/Announcer]

We'll slow down, take it easier. I don't think he's gonna find us now. I think maybe we got a chance.

[Arlene Foster]

Can't we stop Barry?

[Thalia]

No.

[Narrator/Announcer]

No. In 10 minutes, we wouldn't be able to move again. Now the sky is beginning to lighten. It'll be dawn in less than an hour. He can't chase us forever. He's got a revolution on his hands.

[Arlene Foster]

Barry. It's all been so strange. Like a nightmare, all mixed up. I hated you at first.

[Thalia]

Oh, forgive it.

[Arlene Foster]

I didn't know who you were, what you were doing to me. Finally, I began to understand.

[Lieutenant Harrison]

I.

[Arlene Foster]

I don't hate you anymore, Barry.

[Narrator/Announcer]

Good, Maria. It works out better that way.

[Arlene Foster]

In fact, I'm afraid I like you very much.

[Narrator/Announcer]

Why afraid? Yes, Maria. We'll be out of this before long, And.

[The Whistler (Narrator)]

What?

[Narrator/Announcer]

Wait.

[Arlene Foster]

What is it? Barry?

[Narrator/Announcer]

Those are dogs.

[Arlene Foster]

What?

[Narrator/Announcer]

Yeah. They're trailing us. With dogs. No, Matter where we go now, they'll find us. Come on, Maria. And we ran again down the twisting jungle trail, on and on, knowing while we ran that there was no way out, no way of escape. And then suddenly we burst out into a clearing and stopped in our tracks. Far ahead of us, dark and ancient, its stones worn by tropic rains, grown over with lichen and moss, was a Mayan pyramid built by men dead for centuries, lost and forgotten in the Valle Diablo. We broke into a run across the clearing.

[Arlene Foster]

We are going inside, Barry.

[Narrator/Announcer]

Oh, why not?

[Escape Announcer]

What have we got to lose?

[Alacran]

Nothing at all.

[Narrator/Announcer]

Right, inside. Quick, Marine.

[Vic Stanfield]

Excellent.

[Alacran]

Right into the trap.

[Arlene Foster]

Just as I hope he's behind us

[Narrator/Announcer]

somewhere at the edge of the clearing.

[Alacran]

Been here for some time, you know, Waiting for my beaters to drive you out of the brunch. Always predictable, Mr. O'. Grady. One knows precisely what you are going to do before you do it.

[Narrator/Announcer]

Alec Brown, listen to me. I've got Maria with me.

[Alacran]

I recognize her at once.

[Narrator/Announcer]

Then listen. Before I let you take me. I'll kill her. You understand?

[Alacran]

That's entirely up to you, Mr. O'. Grady. First you fire at my voice. Gone embarrassing in the. Mr. O'. Grady. Now my fun begins.

[Narrator/Announcer]

Come on, Maria. Back inside. Quick. Well, I'm out of cartridges. All we can do now is run. Run as far and as long as we can.

[Arlene Foster]

And then what, Barry? You killed me as you told him you would.

[Narrator/Announcer]

You know better. I thought the threat would hold him off. But it didn't. You heard him.

[Arlene Foster]

Yes, I heard him. It is not a surprise, Barry. My father has hated me for years. I did not come in handy like you hoped.

[Alacran]

Where are you, Mr. Reddy? Are you scared now, Ronnie?

[Narrator/Announcer]

Maria.

[Arlene Foster]

Kiss me.

[Narrator/Announcer]

Keep moving. As quiet as possible.

[Alacran]

Maybe you need something to help your own, Mr. O'.

[Narrator/Announcer]

Grady. He's got a machine pistol.

[Thalia]

Hurry.

[Arlene Foster]

I cannot go so quickly.

[Alacran]

What, are you afraid? Oh, Mr. O'. Grady, you're not afraid that they are the plantation. Is this what bothers you for?

[Arlene Foster]

It's no use, Barry. It's no use.

[Narrator/Announcer]

Maria. Maria, wait. There's a ledge right above us here. I can feel it when I reach up. Broken boulders. Now, there's a chance. Now, listen to me, Maria. You go on alone. Make a noise, talk. So that he'll think that we're still together. You understand? I'm going to wait for him here. Right up on that ledge. Right.

[Thalia]

Now, go out.

[Arlene Foster]

All right.

[Narrator/Announcer]

Go on.

[Vic Stanfield]

But. Oh.

[Alacran]

Oh.

[Arlene Foster]

Be careful. Be very careful.

[Narrator/Announcer]

I scrambled up on the ledge and got set. And I felt around in the dark and found a rock as big as a man's head. And then I waited.

[Alacran]

You're tiring yourself for nothing, Mr. O'.

[Thalia]

Grady.

[Alacran]

There's only one way out, you know.

[Narrator/Announcer]

I raised the rock and waited. He was close now. Very close. I listened to his steps, trying to judge his position by the sound.

[Alacran]

You're not being very friendly, Mr. O'.

[Thalia]

Grady.

[Alacran]

And I feel very warm for you.

[Narrator/Announcer]

He was right below me. I raised the rock and smashed it down on his head. It's all right, maria. It's all over.

[Lieutenant Harrison]

Sorry. Sorry. Sorry.

[Thalia]

Maria.

[Narrator/Announcer]

Two weeks in that stinking jail and now you drag me out and bring me down here to the harbor. Why, Captain.

[Captain]

This way, Senora.

[Thalia]

Gr.

[Narrator/Announcer]

Alright, so you won the revolution. Now you're the new government. All right, fine. I got nothing against you. My fight with Alikran was personal, you know that.

[Captain]

Quite true, Senor Ogridi. I know that. However, Alikran was one of our leaders. You killed him. The usual sentence is death by a firing squad.

[Narrator/Announcer]

I know that, Captain.

[Captain]

Instead, we are permitting you to leave the country. The launch is waiting to take you out to the ship. You should consider yourself very fortunate, Senora Grady.

[Narrator/Announcer]

Captain. Look there. There was a girl. Maria Alacran's daughter. Where is Maria?

[Captain]

I believe you are speaking of my wife, senor.

[Narrator/Announcer]

Your wife?

[Captain]

We are escaping a death sentence, senor. But I must warn you that if you ever return to the Republic, that sentence will be carried out. Your wife Maria and I were married yesterday at the church of San Isabel. As a wedding gift to Maria.

[Signal Oil Announcer]

I gave her your life.

[Captain]

Your ship is waiting, Senor o'.

[Signal Oil Announcer]

Grady. Adios.

[Escape Announcer]

Under the direction of Norman MacDonald, Escape has brought you Violent Night by Les Crutchfield, starring William Conrad and Joyce McCluskey. Featured in the cast were Don Diamond, Ben Wright and Edgar Barrier. With Michael Ann Barrett, Byron Kane and Richard Beals. Your announcer, George Walsh. The special music for Escape is composed and conducted by Leith Stevens. Next week.

[Narrator/Announcer]

You are standing in a lonely forest clearing the dawn turned gray by the creeping fog. While standing only yards from you, his eyes filled with his hate for you is a man who's come to take your life. Unless you first take his.

[Escape Announcer]

So listen. Next week when Escape brings you Alexandre Dumas classic story. The second shot. Rich in comedy, rich in human interest, rich in novelty. That's Rich starring Stan Freeberg. Friday nights on CBS Radio it's the lively, refreshing stars address situation comedy called that's Rich, which it certainly is. Every Friday night on most of these stations, just you make a date. Tie a little string around your favorite chair so you remember to listen and laugh with. That's rich. Friday nights, too. Enjoy a full hour Arthur Godfrey Digest on the CBS Radio Network.