 They tuned for escape. Monday morning at 9 o'clock on This is New York. Let Bill Leonard tell you the details about his exciting new contest. It's a contest you want to enter, so get the details this Monday on This is New York with Bill Leonard. But I'm now at a clock. WCBS, AM and FM, New York. Tired of the everyday grind? Have a dream of a life of romantic adventure? Who 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 stranded with a carnival just this side of the iron curtain. One out of nowhere, a fortune is within your grasp. Riding a number on a roulette wheel hundreds of feet high. What is your shoulder laughing at you? A killer clown from whom there is no escape. Listen now, as escape brings you David Friedkin and Morton Fine Story, Carnival in Vienna. In the old days, the role of tenements used to be called a shutting off. Then there was a war and it was called rubble. And it was cleaned up and it was just an empty space in the older part of Vienna. That's where the carnival set up. Pitch and windstands, wheels, a midway act and a high wire for a valley, rides, palm readers and the biggest ferris wheel this side of the ride. Twenty carriages and a four-minute ride. And myself, front gate superintendent, John Ashcroft Allison. The nice sounding name, John Ashcroft Allison. The help calls me here, which is mister. And that's the way it is. And there's Lily, who works a gap whenever it's needed. She's got red hair. We get long flies. Oh, wait. Anna, is that better? Why do you think so? Every time you pass a shiny thing in the mirror or anything, soft and broken, tiredness, you look back your hair. One of the good boys. The next time. Ten dollars, American money. Maroon. A joke? Pink. Joke. Cash me. It's all from you. Liar. What do you mean? Liar, you are vain. You are proud and you have nothing to be proud of. You are hateful. You are hateful. You are hateful. What do you mean, hateful? Hateful. One who walks from another. There you are. You and me, the planets you hate. Oh, baby, baby. One of these days back to the States. You'll never go to the States. You cannot, I know. Joey, tell him. Last night, you were standing down. And although I did not want to... Oh, I bet you didn't. Although I did not want to hear your crazy, pure thoughts on a state-of-the-art where you were so carnival as a man who had handwriting characteristics. And once the guy wrote down his name for me to analyze and I saved his signature and forged it for three months all over the place before they almost caught up with me. Yes. I wonder what I told you. He didn't have... I didn't do anything. He was gone and he told me. Oh, listen. And he told me how you fled from your country to yours. He probably met you. And how you've been traveling from carnival to carnival. Well, you listened to me. Come on, let's walk. Listen, Lily. One of these days, I'm going to get my hands on enough dough. How do you do that? What do you think? Shut up! Shut up! Why don't you do something about that clown? Why should I do something about him? I like him. Honest, by the way, laughs. But he wouldn't clown. I can't understand seeing him like this. He wouldn't clown. A mechanism. A little brain. A little hand. He's a purely mechanical laugh comprising those customers into my hall of mirrors. Why does he upset you? Annoying makes sense. Come on, Lily. I said, come on. What else is he here? And if you know your name and love that show and know you stop and brain like a peacock I just want to tell you something incredible. My advice, change the record in that country and that clown. Come on, Lily. What? What do you want? As if you were up on your shoulder laughing at you. Huh? Answer me. Oh, it's not bad. Laughing at you. Now, let's forget it, huh? Why is that on his head? How does he be happy there? I saw the clown. Stop it. I love you watching the clown come. Professor. And his safety is a part of it. Here. Let us talk to you. What's the matter? Chewie. Huh? Chewie? Chewie. Yeah. You waited. Why? Where are you going? Just wait. Without the old lady who came here for the help of your money you are going to pay me. Chewie. Come on. Let's take a walk. Chewie. Come on. No. I'm going to come and see you. I'm back here, Chewie. Back at the train. What for? Oh, I'm back here. Hello, Chewie. What's the matter with you? Ten friends, haven't we? You have jumped into each other in a silver bar fill her bar and buddy's right off. You sure? Besides the fact you're a lusher, a good boy. Good friend. Good shield for any Connie in the world, right? Oh, right. I don't mind you took that drink and spilled the lily about me. One way or another she had to find out. Well, what's this all about? You, uh, heisted a wallet just now. Huh? I'm a guy. Tourist, right? Tourist, huh? He was with Blonde from Maxie's. He had to be a tourist. No way he was dressed. Going short with a feather in his hat. Give me the wallet, Joey. I'm taking a walk. He'll talk to me like that, Joey. You're close to death. I'm telling you, I didn't... Come on. Johnny? Johnny? Now we'll take the wallet out, Joey. Can you hear Joey inside your shirt? Ah, sure you have. Ah, let's see. Tourist, all right? Oh, Max, Boston man. Card, card. Where's the toll? Where's the toll, Joey? You already left the toll out of there? Ha, ha, ha. Wait a minute. You know what, Joey? You'll never know. By now, jump, friend of mine. One day, and I'll catch up to you. One day, Johnny, I'll catch up to you. And when it dies, when it dies... I didn't look at him anymore. Not at Joey. But John Ashcroft Allison looking out at me from the aluminum side of the trailer. And a man out of a $10 tie. And he winked back at me, and his lips shaped the words I was saying. $23,000. Letter of credit in Mr. Paul Max Wallet. Complete with identification cards. So I looked around for the green short. The man with a feather in his hat with a blonde from Maxville. And the way it happened, I bumped into them coming out of a hall of mirrors. I trailed them over to the ferris wheel. Watch Mr. Max flap down some change for a couple of tickets. Waited until they get into a caragonal wheel. Not enough for you. Then I walked over to Allison. He had it without further ado. Hello, Allison. Hello, Allison. Working on it? No, no. Where's this six wheel stock? Look who's back, it means stock. Easy. Hey, how about you and... Marlene. I never got to see her. Although she works. Right over there, we only get away. Then, since we are both off, her boyfriend comes and takes her away. Why don't you go over and talk to her? Sure, go ahead. I'll take over the wheel. I would certainly like to see Marlene through. Go on, read it. Got it. Biggest ferris wheel inside of the river. 20 carriages in a formative ride. Mr. Paul Mack from Boston Mass. And the green one with a blonde. Enjoy. To keep them in the carriage like Gettys, $23,000, that was the trick. A 20 to one shot. Scoop a handful of sand and gravel off the ground. Into the oil intake. Another handful. Another. Four minutes with 14 times around. Eight times and nothing happens. Nine. Ten. Eleven. The biggest ferris wheel in the world. Trying to get it to come up green with a couple of handfuls of sand. Maybe it wouldn't work. Maybe I needed another gimmick. Maybe I could... Carriage with a blonde. Green carriage. Green carriage with a blonde. And a man. And a Paul Mack from Boston. And then the carriage up. Top. And then I close my eyes. When I opened them, the wheel had stopped spinning. Carriage at the top was green. I knew there wasn't a chance of that wheel coming down for a long, long time. And there wasn't a ladder that high that could get them down. $23,000 on a $20 to one shot. I just hit. You are listening to Carnival in Vienna, tonight's presentation of Escape. Edgar Bergen fans will be doubly delighted with the new Edgar Bergen show with Charlie McCarthy. Remember Sunday night on most of these stations, the new Edgar Bergen show with Charlie McCarthy. And now back to Escape and the second act of Carnival in Vienna. Carnival. And the big wheel not spinning anymore against the Vienna sky. And for a little while the small riot of Carnival wound down. No attraction added to early afternoon with the Danube closed. Now the kids took to it. Climbed the girders and hung from them like skinny rag dolls and kicked their feet into Otto's face who was going crazy trying to fix his ferris wheel. And a small detail of Russian soldiers took to it too. Running up at the merchandise display of black cotton stockings and Bohemian petticoats. And it's a very, very, very top, all very, a gem from Boston Mass with his arms wrapped around a blonde from everywhere. I told Otto to handle it the best way he could. I'd round up some refugees to give him a hand. And I walked away from him. Down the middle way. Passed the gas through. Passed the shooting gallery. Passed him. Passed the clock. Passed where the corny started to die and got to be mud and litter and broke his straw. Where the trailers were. Mine, bright and shinier than the rest. Because it was a displaced straw line very handy for the dust cloth. He needed the work. And the job. Class in penmanship. Oh, gentle, the writing hand. Circle. And then... Johnny Allison into Paul Mack. Gents from Boston Mass. Paul... Max. What you doing, Johnny Boy? What you doing, Johnny Boy? The bottle of schnapps over in the cupboard, Joey. Drink yourself dead. Uh-uh, no. Maybe you don't understand because you're fuzzed up. You're not wanted, Joey. Oh, now that hurts. Hurts when you say it to an old friend. But you could buy back my affection. I like you, Johnny. Honey, I don't want not to like you. Lush. Need a lush. Don't talk like that, Johnny. You made a noise like twenty-three thousand dollars when the hurt last. I don't know the angle, but I won't end. Half, Johnny. Petal, you dreamed of Madam Souther. That's her pitching up mine. What was you doing when I come in, Johnny? Writing a letter? Practicing, maybe. Get an old feeling in the digits just so you... Let me see you, Johnny. Get your face away from me. You didn't even let me see. But I got something I want you to see, Johnny. I brung it just to show you. Oh, Joey, Joey, you really are fuzz, aren't you? Uh-uh, no. All this your gun does, Johnny. All it does in the world is to make you and me buddies. I squeeze this on it just a little bit and all it says... You hear it, Johnny? All it says is, buddy, buddy, buddy. Like it was a mama dog. You say half to me, Johnny. Say half to twenty-three grand. I don't squeeze no more. Now, give it to me, Joey. Give me the gun and then you can go hit the schnapps bottle. Give me Joey. You can squeeze the schnapps bottle. You just sit right down on the floor, Johnny, so it'll go off right between your eyes. Give me Joey. Or drop it. Or throw it away. I'm serious. I'm serious. I'm serious. Johnny, I'm serious. Johnny, boy, I'm serious. Johnny, boy, I'm serious. I'm serious. Come here. Come here. I'm sure. I'm sure. Yes, yes, take it. I'm serious. I'm serious. Nobody can play you for a sucker, Johnny Boy. You help me up and I'll... You, Johnny! Got to be doing my... Like this. Just like this. He was as dead as I could make him. I picked him up, carried him to my car, propped his body in the front seat next to me. Whoever may have seen it figured the only thing to figure. Joey was stoned yet. The heir of Johnny Allison was nursing him, like he'd done a thousand and two times. It took fifteen minutes to drive out to the edge of the Russian zone, along it to a square block of rubble, behind it to an alley. I opened the bottle of schnapps I'd remembered to bring along, rinsed out my mouth with, and poured the rest on Joey's throat. I slid the bottle into his coat pocket, eased him out of the car. What was in the alley was some garbage cans, scraped clean, some phony dogs who just stared, and a no-name lush. In a trailer by half past one, I could forge the signature of Mr. Paul Mack ten between my teeth. Eight letters straight up and down with a couple of curls in between. By two, I was in the Vienna State National Bank, and it'll start. Good afternoon, sir. What can we do for you this afternoon? You can do business with me this afternoon, my dear. Here, my letter of credit, my identification card. I am Paul Mack, the boss in Massachusetts. Oh, of course. Well, my dear, let's get with it. Oh, of course, of course. Something... Nothing, nothing but nothing. Everything is in proper order. Only a... Only what? The new telephone yesterday. You informed us you would not come here until ten tomorrow morning. Oh, you mean... The new telephone yesterday. It was off noon. Surely you do remember? Surely I do remember, my dear. Something came up to change my plan, so I'm here now this afternoon. Does that make a difference? No, no, no. Surely no. Except only that it gets us short. No, just to gather the money. One Swiss dollar, was it not? Twenty-three. Thousands? Thousands, my dear. That's the notation I have. Here, I'll show you. Here, that new telephone yesterday said you would come tomorrow. That is a five thousand. Oh, you're good, my dear. Somebody made a mistake. Now, look, I've got a deal. I need every cent left on my letter of credit. Twenty-three thousand. Cash, dollars, Swiss or American, make a choice. Oh, of course, of course, Mr. Mack. It's kind of safe for me so that I may compare signature. The formality only, isn't it? Oh, I want to. Okay. Thank you. Thank you. And now, only moments longer. I must corroborate this machine. That's the formality. Oh, sure. I'll wait. One, two, three, four. This is all that it should be, Mr. Mack. Your money's in this parcel. Twenty-three thousand dollars. Thank you, my dear. An awful thing. Hmm? To sign the receipt. Oh, yeah. I know, I know. Not sure. You understand, Mr. Mack, the necessity of caution. However, there's the thing. If you don't mind, of course... Look, I'm in a hurry. What's eating here? How does it feel? How does it then feel when it is sent into a bag, asked for tens of thousands of dollars, and get it? Mm-hmm. Wonderful. It's Johnny, baby. Open up. An hour. And I missed you. Kind of full. Mm-hmm. Oh, but, Johnny, the excitement, the deal being stopped, and the men at the very top of it, screaming and screaming that they had been robbed. How is a man robbed, if he's on top of territory? Yeah. Yeah, funny. Lily? Yes. We're leaving. Yeah? Yeah. What do you want, Lily? What are the dreams? Paris, Rome, London? Dream one over me, baby. Johnny Allison makes it come true. Now, I'll grab a coat, Lily. From this minute, it's all you'll ever need. Where are we going? I told you, whatever ride you want, whatever bobble to lay against your neck, or your fingers, or your toes. Is the money you have saved in front gate superintendent of the chief side street carnival? With 23,000 dollars. Jesus. What are you talking about? I hit them. Like I always said, I would. 23,000 dollars worth. Now, come on. Cover it with a coat. How did you get such money, Johnny? What difference? It's green. It makes a pretty sound when rubbed together. Make it whisper and advise Mink for you and silk for me. Like I saw once in a shop in Rome. That's it, baby. First stop, Rome. So Johnny can look good. So Johnny can look swell. So Johnny can- You stole it, didn't you? I promoted it, baby. You stole it from the American who screams from the top of the fence. Me, baby. Me, Johnny Allison. Get out. Huh? Get out. I want no part of you. It's me you're talking to, Lily. The man with the promises. The man with the dreams. So don't- Promise me. Green man. Man of nothing. Deesh. Who will go with you? Not Lily. Not I. You're lousin' it, baby. Not with you. Promise me, green man. Stupid men of angles and gimmicks and promoting- That's it. He's got this stupid truth of a fact. Anything else you need to say? You are not Joey and Lush. Strong. Strong with yourself. Strong with your stupidity. Strong with your drunkenness. Joey. Joey. Joey. Johnny Allison, who is Joey. Shut up. Joey. Joey. No, Joey. No. Shut up. Call me that. Not Joey. Joey. Joey. Joey. Joey. Lush. You shouldn't- For a long time. For all the time that we needed. We're a finger-ling clenching trail along the floor. Well, the life to go out of her. Then, Get out. Walk, don't run to the midway. Crowd in the ferris wheel moving now. Midway in the palace of fun, I packed my back to the world through the hall of mirrors. And I was on my way. Hansel the clown laughed, but this time I didn't care. Johnny Allison on his way with 23 grand to take him wherever he wanted to go. All a mirrors. I know it like a book. Like I knew the backup. The backup of my hand. Stop, turn that corner. Sometimes a guy forgets. Fun. All a mirrors. They are dying to get in. It's a fun time to get out. Whoever I went, Johnny Allison came right back at me. I wasn't Johnny Allison. Me trying to be the tension scotch. Easy, easy. I didn't see myself I wouldn't be there, would I? Hell would I? I couldn't get all of them. Too many, too many. Johnny there was me. He didn't look so good anymore. He didn't look like anybody I knew. But you. Where is he set? He's there on the floor. To kill a girl. Then to hide in the hall of mirrors. Such stupidity. Perhaps not. For here a man can laugh at death. That Johnny laughs. There's Johnny. And here a man can observe himself in a thousand mirrors. And there's Johnny from every angle. That is if a man can stand looking at himself. Come, come. Dave has brought you Carnival in Vienna. A story written and directed by David Friedkin and Morton Fine. Featured in the cast were Jack Moyle, Lillian Bias, Jack Krushen and Hans Connery. Also heard were Barney Phillips, Robert Boone and George Peroni. Here are an author, George Waltz. The special music for Escape is composed and conducted by Leith Stephen. Next week. You are flying a plane high above the island of Massa Buera. 300 miles off the coast of Chile. Beside you, a beautiful woman. And only she knows it's the last stop. The last time around. A death trap. From which there is no escape. Listen next week, when Escape brings you Tony Barrett's story, there was a crooked man.