 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, designed to free you from the four walls of today for a half hour of high adventure. You are kneeling in the church of a Caribbean village seeking the sanctuary it might offer. While slowly, walking down the aisle, carefully steadying each bowed head is the brute of a man who has come to kill you. Listen now, as escape brings you less crutch field story, violent night. 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 cart, reached for my pistol on the table and stood up. Barefooted, I moved quietly across the room and stopped by the shutters. Senora Crady. Who is it? Pepita. It is Pepita. Pepita? I am come to warn you of terrible danger. Are you alone? Yes. All right, wait a second. Quickly. What's wrong? What's the matter? Toward the village. Toward Monte Miguel. What? What? Fire. What's burning? The estacion of the police. The federalist, the army barrack, other places. It is a revolution, senor. Revolution? Who is it? Who's behind it? Alecran. What? He has come out of the jungle again. One thousand men are following him and now more from the village. He has guns, trucks, cars, radios. Call himself governor of the district. Governor? He won't last 48 hours. Everyone say it is revolution all over the country. You must leave your plantation and go quickly. Pepita, you, uh... you think he still remembers? Alecran will never forget. Not ever. Not before one of you is dead. Yeah, maybe you're right. All right, thanks, Pepita. Thanks for everything. 10 minutes later, I lay hidden in the 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 kind of struck out then, run away, but I had to know the odds. No, whether Alecran was making it personal, whether he still remembered. The trucks skidded to a stop. Men with rifles piled out, circled 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. Mr. O'Grady? Mr. Barry O'Grady? Alecran. Your Westerners die, Mr. O'Grady. You may as well come out. Educated in the States, but as cunning and cruel as the wildest Indian in the bush. Are you afraid of me, Mr. O'Grady? Are you afraid to come out and greet an old friend who has not forgotten you for a minute? Alecran, leader of a revolution, self-styled governor of the district, had he taken time out to lead this raid personally. Yes, Papito 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 by the edge of it and tried to get my wind back. Alecran. For two years he'd waited, and now he was coming after me. He'd been trying to start a revolt then. I'd 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 packet as 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 ranches 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 through it and the road struck a match and set fire to it. And then I dropped down in the ditch and waited. All right, easy now. Don't move. Who are you? What do you want? I want your car. No, it is impossible. Let me go. Oh no, you don't. Let go of that. Stop it. Stop it. You're hurting me. Take your hands off. Thanks. Well, that's a lot of gun for a lady. I will take care of that. Do you know who I am? No. I am the daughter of the governor of this district. You're what? It's true. I am the daughter. I'd heard he had a daughter, but who'd ever expect that fat pig to have one that looks like you? I promise you, senor. If you go on with this, I will see that you are shot against a wall. You're too late. Your father already has that idea. Or more likely a whistle. You know, I think you're going to come in awfully handy before morning. What do I call you? What's your name? Maria. All right, Maria, let's get this straight. I got one chance in the thousand of staying alive, and if I can help that chance, I'll do anything. You understand? No, please. We're going to get out of here. We're going to 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 toward San Vicente. It was 110 miles to the capital, but the sports car was fast. It could outrun any army vehicle Alcatron's men might have. There was a good chance he hadn't yet blockaded the San Vicente highway. Now it was a good dream. It lasted for two miles, then it popped like a soap bubble. In the road ahead, sir, lights, trucks, men moving. What do you want me to do? Brakes, hit the brakes. Come on. And get this thing turned around a minute fast. Amigos. Sí, sí. All right, come on. Step on it. Let's get out of here. Come on. Master, it was close, plenty close. Well, we're still lucky. We could have barred straight into that. Or they blocked us, but at least they didn't get us. And we still got a chance of circling back. But what's wrong? What is it? I don't know. I'm not doing anything to them. Yo, wait a minute. Yeah, yaggin's smell it. A bullet must have smashed up in the gas tank. Wait, we're out of petrol? Yeah, get it over to the side. All right. No farther. Clear over to the canal bank. The irrigation ditch. Go on. What are you going to do? Here, give me a hand. We're going to get it rolling into the ditch. Come on, let's go. What do you mean? 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? No. I will not do it. I will not go into the water. Oh, you won't. Hold your breath. Now, just take it easy. Quit fighting and relax, will you? I'll get you across. It's only 20 feet wide. All right, easy now. All right, here we go. Now, grab the back. Oh, it takes me all my life. I'm going to kill you. Maybe not. I might have to kill you first. Now, come on. I am not going into that jungle with you. No matter what you do to me, I am not going. Come on, move. Alakrann 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 Montemigalitz. 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. But 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. Inside, quick. What are you going to do? Wait for the patrol to pass. Now be quiet. Not a sound, Maria. That was lucky. Well, double lucky, in fact. The head man here has gone out and left some clothes already for me. Antelones, camisa, sarape, sombrero. Now, if we can find something for you. What do you mean? Well, dress like we are. We don't have a chance. Oh, here. Here, this ought to do it. Catch it. Now, here's a shawl for you. You can throw it over your head and keep it around your face. If you think I am going to change my clothes. Get behind that curtain and do it anywhere 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've frozen my tracks. Alecron. He was launching in the back of a Turing car. Fat and evil. This way. Wee. Into the church. If he sees me, we're finished. Slow and solemn now. I'll write up the steps. Keep your head down. Odd, half-scared the way the villagers go in. Up toward the front. In here. All right, this is far enough. Now kneel down. Well, we're safe for the moment, but I... Alecron. Alecron. Don't move, Maria. Don't cry out. The gun's pressed against your side. Please. Keep your head down and pretend you're praying. Better yet, really pray. You are listening to Violent Night, tonight's presentation on Escape. Next Monday night on CBS Radio, Ronald Reagan stars in the Lux Radio Theatre adaptation of Carbean 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. The Padre white-haired and old knelt 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 a look and then turned back quickly. Beneath my syrapia, I kept the gun pressed tight against Maria's side. Very! Alecron 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. You cannot come here with arms with my son. This is a place of peace. Oh, and I am a very peaceful man, Padre, as long as I have not denied the things I want. What is it you want? A man. I'm told he has some woman with him. They may have come in here. I will only need a moment more to finish checking your followers. No, I cannot permit that. Padre, you know who I am. Now we can be friends or we can be enemies as you choose. Of course, burning the churches not to my liking. Go, wait outside if you wish. I am on the point of dismissing the congregation. You may watch them as they leave. All right. You're clever at compromise, Padre. I'm sure we will learn to understand each other. Adios. Let me first attend me now, then. That is all my children. My son. What is it, Padre? This way. Follow me, both of you. Come quick. Come on, Maria. Yes. In here. If you are taking a big chance, Padre, if he finds out you are in trouble. You have heard of sanctuary, my son, the sanctuary of the church. Yes, of course. Unfortunately, I cannot assure you that sanctuary, but perhaps I can help you in some small way to find your own sanctuary. Thank you, Padre. In a few minutes, when everyone has gone, he will be certain... Who is it? La La Cran. One moment. I am informed that you're hiding a man and woman from the congregation. Open this door. Have patience. Now. Here, behind the desk, there is a way out. All right. Both of you, quickly. The passage opens on an alleyway behind the church. Open now. My children. Thank you, Padre. You're welcome. 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 via diablo jungle on the other. But for a moment, we were safe. Barry. What? Back there, in the church, would you really have killed me? Look, I'd hate to do anything to hurt you. But if I have to, I will. Why do you hate me so much? Hate you? 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. I couldn't go. Wait. Hold it. Barry, don't shoot. It's only a child. Yes, it's only a child, but he knows who we are. And you'll have the whole town up here in two minutes. There's no choice left now. Come on. Barry, what are you doing? Where are we going? To the jungle. Into the fire diablo. Yes. I've got to rest. All right. All right, Maria. We'll slow down and take it easier. I don't think he's going to find us now. I think maybe we've got a chance. Can't we stop, Barry? No. No in ten minutes we wouldn't be able to move again. Well, the sky's beginning to light, and it'll be dawn in less than an hour. He can't chase us forever. He's got a revolution on his hands. Barry, all been so strange. Like a nightmare. All mixed up. I hated you at first. Oh, forget it. I didn't know who you were, what you were doing to me. And finally, I began to understand. I don't hate you anymore, Barry. Good, Maria. It works out better that way. In fact, I'm afraid I... I like you very much. What? Afraid? Maria, we'll be out of this before long. And what do... Wait. What is it, Barry? Those are dogs. What? Yeah, they're trailing us with dogs. No matter where we go, now they'll find us. Oh, Barry! Come on, Maria. He 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 on our tracks. We're ahead of us. Dark and ancient. It's stones worn by traffic rains grown over with lichen and moss was a Mayan pyramid built by men dead for centuries lost and forgotten in the Vaya Diablo. We broke into a run, crossed the clearing. We are going inside, Barry. Why not? What have we got to lose? Nothing at all, Mr. Alady. Holy crot. All right, inside, quit working. Excellent. Right into the trap, just as I hoped. He's behind us somewhere. At the edge of the clearing. For some time, you know, waiting for my beaters to drive you out of the brush. Always predictable, Mr. Alady. One knows precisely what you are going to do before you do it. Alec Brown, listen to me. I've got Maria with me. I recognize her at once. Then listen. Before I let you take me, I'll kill her. Do you understand? That's entirely up to you, Mr. Alady. I read my voice and mix. Then an empty gun. Embarrassing indeed, Mr. Alady. Now my phone begins. 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. And then what, Barry? You killed me as you told him you would. You know better. I thought the threat would hold him off, but it didn't. You hurt him. Yes, I hurt him. It is not a surprise, Barry. My father has hated me for years. I did not come in handy like you hoped. Where are you, Mr. Alady? Are you scared now, Ronnie? Maria, keep moving as quiet as possible. Maybe you need something to help you run, Mr. Alady. He's got a machine pistol. Hurry. I cannot go so quickly. Why are you afraid, Mr. Alady? You're not afraid of the plantations. Is this what bothers you, perhaps? It's not you. 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. What? Make a noise. Talk so that you'll think that we're still together. Do you understand? I'm going to wait for him here. Right up on that ledge. All right. Go on. Little, oh, be careful. Be very careful. 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. You're tiring yourself for nothing, Mr. O'Grady. There's only one way out, you know. This way. 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. You're not being very friendly, Mr. O'Grady. I feel very warm for you. 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. Maria, two weeks in that stinking jail. And now you drag me out and bring me down here to the harbor. Why, Captain? This way, Mr. O'Grady. All right, so you won the revolution. Now you're the new government. All right, fine. I got nothing against you. My fight with Alecran was personal. You know that. Quite true, Mr. O'Grady. I know that. However, Alecran was one of our leaders. You killed him. The usual sentence is dead by a firing squad. I know that, Captain. They said 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, Mr. O'Grady. Captain, look, there was a girl, Maria, Alecran's daughter. Where is Maria? I believe you are speaking of my wife, Mr. O'Grady. Your wife? You are escaping a death sentence, Mr. O'Grady. 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 Sunday Isabel. As a wedding gift to Maria, I gave her your life. Your ship is weddings, Mr. O'Grady. Are you? Under the direction of Norman MacDonald, Escape has brought you violent night by Les Crutchfield, starring William Conrad and Joyce McCloskey. Featured in the cast were Don Diamond, Ben Wright, and Edgar Berrier, 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. 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. So listen next week. When Escape brings you Alexander 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-addressed 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'll remember to listen, and laugh with That's Rich. Friday nights too, enjoy a full hour Arthur Godfrey Digest on the CBS Radio Network.