 Family Theatre presents Anne Blythe and Raymond Burr. From Hollywood, the Mutual Network in Cooperation with Family Theatre presents Nightcaller, starring Anne Blythe and Raymond Burr. Family Theatre's only purpose is to bring to everyone's attention a practice that must become an important part of our lives, if we're to win peace for ourselves, peace for our families, and peace for the world. Family Theatre urges you to pray. Pray together as a family. Now to our transcribed drama, Nightcaller, starring Anne Blythe as Nora and Raymond Burr as Clint. I couldn't sleep. Maybe it was the bright moonlight coming in through my window since the storm ended. Maybe it was just because I was all alone. Whatever the reason, I was still wide awake at 2.30. I got out of bed and went over to the window. Below me, far across the valley, the last of the storm clouds drifted quietly against a clear night sky. I could see some stars. I looked down the dark winding driveway that led from the house to the road along the edge of the bluff. The motionless trees, the shaded surface of the mountain side, the white ribbon of highway. All seemed deserted and very distant. I looked again at the luminous dial of the clock on my night table. 2.30 in Los Angeles. That would make it 4.30 in Chicago. I wish that I could pick up the phone and call long distance. Hello, Mom. Hello, Dad. It turns out your daughter's not a big girl after all. She's sleeping in your bedroom, but she's still afraid of the dark. Would you mind singing at a sleep? Pick up the phone. I did get that far just to see how it felt. Then I decided I should stop feeling sorry for myself. And not two seconds later, I saw the light flash on my ceiling. It was a car slowly making its way up the driveway. I watched it pull up to the house and stop. A man got out. I'd never seen him or the car before. Maybe he was lost and wanted to use the phone. I didn't care. I wasn't going to let him in. I slipped into my bathrobe and started up the hall toward the vestibule. There wasn't a light on anywhere in the house. He'd think it was empty and go away. That's all he could do. When I got to the end of the hall, I stopped and peeked into the vestibule. Through one of the glass panels at the side of the front door, I could see him standing on the porch. I waited, expecting him to turn away and get back into his car, but instead he did something that made my blood freeze. What do you want? Who are you? What do you mean breaking in here? Where are the lights? Get out. Quiet. Don't you come near me. Where's the light switch? Here it is. What do you want? I thought this place was empty. No, no, my parents are in there. They must be pretty heavy sleepers. You get out of here before I call the police. You're all alone, aren't you? Look, look, I've got some money, about $30. You can have it. Has anyone else been here tonight? No, no, listen, I'll give you the money. Take anything else you want. I promise I won't call the police. Where's the phone? The phone? You heard me. In the bedroom. Come on, show me. You want to stay out of trouble, keep your mouth shut. Hello? Who's calling? Yeah? Yeah, it's me. They already left, huh? That's not very smart. What if somebody else sees it from the highway? Okay, he's the boss. Yeah, I'll turn it on. No, no, no, it went off like clockwork. Good enough, so long. Who was that? A friend of mine. Where do you turn on the porch light, back in the vestibule? But how did anyone know to call you here? Because I told them to. Let the switch by the front door. Yes, look... How come you didn't go to Chicago with your folks? I changed my... Who told you they were in Chicago? A friend of mine. Who are you? What's this all about? Never mind what it's all about. Turn on that porch light. Aren't those headlights coming up the driveway? Yeah, don't look so hopeful. They're friends of mine, too. Where does that door lead? To the den. Inside. What are you going to do? Stop, ask him so many questions and get in there. From inside the den, I could imagine him crossing the vestibule and opening the front door. I remember looking around the room and trying to decide whether I'd have a chance if I climbed out the window and made a run for it. But before I could make up my mind to do that, I... Come out here. But I... Come on, come on. You shouldn't let her see us. What's the difference? She'll never see us again. What do you want? How long are your parents going to be out of town? I don't know. Come on, we aren't fooling. I don't know and until the weekend, anyhow. You got any relatives in L.A.? No, no, we just moved out from the Midwest last spring. You work? What's this all about? Answer them. Where do you work? The London Film Company in Hollywood. I'm an illustrator. Better have her call in there in the morning. Say she's sick. Call in? Yeah. You're going to have guests for the next few days. You can't stay here. Sure we can, honey. It'll be nice and cozy. But why here? Because we like it here. It's quiet. Not many people come around. You know, I'm beginning to wonder about this. Maybe we ought to clear out right now. Forget it, kid. You're hot. Your picture will be all over the front page. That was five years ago. I've lost a lot of weight. Shaved them aside. Besides, we've got to wait for Frank. He could catch up to us. He knows the place. Look, cool down. That dough is not going to run away. Well, which is it? We stay, we go. We stay through tomorrow anyhow. How are you fixed for groceries, lady? There's not much. Maybe take her out in the kitchen and see what you can find. OK. Come on, honey. Want a hand getting your stuff out of the car? Yeah, might as well bring it in. Oh, I'm starving. You and me. Hey, this is a cute kitchen. I'm glad you like it. Now, don't be rude, honey. Don't be rude. Well, let's see what the icebox has to offer, huh? Oh, boy. Cold chicken. The police are after you, aren't they? Not us, dear. Just Clint. What did he do? Here, take the milk. He sprung himself. He what? Sprung himself. Went over the wall. This all the butter you got? Yes. You mean he escaped from jail? Yeah, that's what I mean. What was he in jail for? Armed robbery five to ten. You know, he's younger than I expected. He's kind of cute, too. What? I thought you were good friends. We are now. You got any salt and pepper? On that shelf over the stove. You don't even know this man and you helped him to break down. We didn't help him. He did that all by himself. But you're helping him get away. We got our reasons, honey. The grub coming. It won't be long. Where's Clint? Putting the car away. How are you getting along with our hostess? All right. You're shooting your mouth off? I didn't tell her anything. She won't hear on the radio. Who says she's going to listen to the radio? What'd she tell you, lady? Nothing. Not a thing. Come on, come on. I'll leave her alone. You already said his picture would be in the paper and about the dough anybody could figure he's on the run. That all she told you? That's all. Really? Then you know we aren't fooling around. I know. Okay. Just don't forget it. What's that? Just Clint, the back door. Let him in. Okay. Thanks. Getting cold out. Get the car in all right? Yep. Come on, sit down. Let's eat. We got a lot of planning to do. In front of her? Later. You think I'm nuts? Mae, we're going to have to lock you two girls up in the bedroom tonight. What am I? Don't give me any lip. That's what you're going to do. Come on, pass the chicken. I'm starved. I sat there watching the meat. Clint let the others do most of the talking. Once or twice I realized he was looking at me. Puzzle, but he didn't say anything. After Mae and I had finished the dishes, Clint and the other man locked us up for the night in my parents' bedroom. It was starting to get light when Mae sat down in the rocker next to the foam stand. I lay in bed watching her pretending to drop off. The first time her eyes closed, it was only for a few moments. The next time, a little longer. I waited. It had to look right. By 6.35 she'd been asleep for almost 10 minutes. I got out of bed as quietly as I could, tiptoed over to the foam stand and lifted the receiver from the hook. Mae stood in her sleep. I stood there inches from her. Then she began to breathe evenly again. Hello? Hello, is this the police? What did you say? Hey! Is this the police? What are you doing? Put down that phone. Police! Give that phone to me! No! I'll never let you talk on the phone! Give me that phone! Give me that phone! Give me that phone! I'll drop it! All right, Mae, hang that thing up and put it back on the table. I thought you were going to behave yourself. Well, you saw it wrong. You fell asleep, Mae. Just for a minute. Minutes all she needed. How come you didn't tell us the phone was in here? I forgot about it. It was a nice thing to forget. Don't make me any speeches. I forgot it. That's all right. All right, all right. Take it easy. Don't get excited. I'm plenty excited. I tell you, we ought to get out of here. As soon as Frank shows... What's so big with you and Frank? I'm the guy who has to do all the work on this. Lucky is your buddy, Clint. He stopped being my buddy when he sold half this mark to you. You needed the dough. It's what got you loose. All right, so now I'm loose. What do we need with him? Wait a minute, wait a minute. You think this is very smart to talk in front of the little lady? No dumber in sticking around here while the cops traced that call she just made. Yeah, I don't think she got through to the cops. Why not? When I hung up the receiver, the number was still ringing. She probably got disconnected and you heard the dial tone. I know the dial tone. This was the number ringing. Then who was she talking to? Ask her. Oh, sure. That'll do. Look, Clint, even if she got the cops, they'd call back. They don't come running every time the phone rings. All right, but what if they come running this time? Then she'll answer the door and tell them it's all a mistake. Oh, that's brilliant. Look, look, kid. I got 15 grand tied up in this mark and I'm not going anywhere until a guy I paid at two shows up. Use your head. Frank's no good to you from now on. You already know the bank, don't you? Shut up with you. Well, that and my signature is all you need. You're talking too much. All right, I'm through talking. Wait for Frank as long as you want. I'm getting out of here. You're not going anywhere. Put that rod away. When I'm ready. Why, you chump. That goes off pointed at me. You wind up with 50% or nothing. Well, worry about that when Frank gets here. You're going to be sorry for this. I'd rather be sorry than double-crossed. I get your hands up. Okay. Out into the hall. You too, lady. What are you going to do? You'll see when I do it. Look, you promised no rough stuff. I'm going to lock them up in the den for a while. Is that rough stuff? All right, go on. Get in there, both of you. I'm not going to forget this, mister. I'll give you something else not to forget. This thing is loaded. They'll be watching the back of the house. So don't get any ideas about climbing out that window. Now make yourselves comfortable. Even though the window in the den faced west, there was enough gray early morning light coming through it for me to make out Clint's face. He slumped down in a chair by the window, staring out at the mountains. After a long time, he turned and looked at me. Hey. Hey, come over here, will ya? I won't hurt you. Come over here by the window. What is it? Keep your voice down. You might be listening. Well? All right. I've been trying to think of a way to get you out of here. Get me out of here? That's right. I'll give it to you all at once. I'm not an escaped convict. I'm a policeman. A policeman? Keep your voice down. What do you take me for? I take you for a girl who's going to be awfully sorry when that guy Frank shows up and finds out I'm not Clint Sanders. But may in that man she's with... Ward. Remember his name? Jerry Ward. They've never met Clint. They think I'm him because I said so and showed up at the right time. If you're not Sanders, where is he? Well, in the infirmary at the State Penitentiary. He was shot last night trying to break out. He talked. Talked a lot. That's why I took his place. Talked about what? A bank job. The thing he went to prison for. They never recovered the money. It's almost 100,000. They never tagged the brains behind it either. Who would that be? Frank? Well, we think so. We can't make it stick without the money. But you told May and Ward you knew where the money was. I told them they knew where the money was. It was just a hunch, but they took the bait. I figured Frank must have told them something for their 15,000. Why didn't you tell me this when you broke in here last night? It wasn't times. And besides, I... I didn't know I... You might have been a plant. I don't believe you. All right. All right. Why do you think I didn't tell Ward about the telephone being in the bedroom? You said you forgot it. Are you kidding? I wanted you to use it. I wanted to scare him out of here before Frank showed up, so they'd bleed me to the money. Have you any idea where it is? Sure. A safety deposit box in Mexico. Northern Mexico. That's all Clint had told us. Then you really want to help me escape? Well, sure. I think we can swing it. Oh. Well, here. These are the keys towards Carr. So far, he's forgotten he didn't get him back. Well, why don't I use your car? It's in the garage. Because I won't move. I took the plugs out. I didn't want anyone chasing you. Besides, Ward's car is the one I want the police to get. It's evidence. Probably got his prints all over it. All right. But how do I get to the garage? Well, I'll climb out this window and make a run for it toward the bluff. Oh, but Ward said he'd be watching the back of the house. That's the idea. Well, he's busy trying to catch up with me. You'll have a clear field to the garage. What about me? I got a hunch she'll stick with Ward once the excitement starts. And you want me to go straight to the police? Fast as you can. Incidentally, he... You didn't happen to get through to them while you were on the phone, did you? No. Too bad. There's... something I should tell you about that phone call. It was just a trick, an idea I had. What do you mean a trick? Well, when I heard you suggest I'd better call in to work this morning, I... I realized you hadn't guessed about what... Well... You're getting along fine, aren't you? What's it to you? Nothing. It just happened to remember you've still got the keys to my car. Well, let's have them. You must be getting soft in the head. I gave them to you when I came in from the garage. Come on, wise guy, let's have the keys. I tell you, I don't have them. Want me to answer that, honey? Yeah. If it's for the girl, tell them they got the wrong number. Search me if you don't believe it. Now, look, I haven't got those keys and either is made. Are you going to hand them over or do I have to get rough? How can I hand them over if I don't have them? Honey, that was Frank. Oh, where'd he call from? He's on the gas station. He's on his way here now. Good. All right, wise guy, we'll forget about the keys until we see what Frank has to say about you. Um, you asked me to remind you. Huh? You know? Oh, oh, yeah. Hey, lady, what's the name of your boss down where you work? Mr. Harper. Charles Harper. Okay. Come on, both of you. We're going to make a little phone call. Don't tell me you're going to put her on the telephone. That's right. Oh, that's brilliant. What if she starts yelling again? You won't. What's the address of that place? London Film Company on Melrose. Look up the number, May. I think you're off. Here it is. London Films. Yeah. See? Hollywood 2, 1, 3. Okay. All right, lady, here's the deal. Last night, you twisted your ankle. See? That's nothing serious, but it's going to keep you off your feet a few days. And the reason you know it's nothing serious is because I'm a doctor. And I told you, just like I'll tell your boss, Harper, before you talked in Savvy. Yes. And when you get on the line, you'll make some, you know, small talk with him, but don't get any smart ideas. I won't. Okay. May I speak to Mr. Harper, please? Mr. Harper, I'm Dr. Walter Barnes. I'm calling in for one of your employees, Miss Wilkett. She had a little accident last night, turned her ankle. No, no, nothing serious, but I recommended she keep her weight off it for a few days. Yes. Yes, she's right here. Wants to talk to you. Hold on. Okay. Don't try anything funny. Hello, Mr. Harper. This is Nora. Can you hear me all right? There seems to be something wrong with the connection. Oh, by the way, I called my folks in Chicago last night, long distance. I was just lonesome. I wanted to hear their voices. What? Oh, yes. Yes, I'm home. No, Dr.... Barnes. Barnes. Dr. Barnes came over here. I called him. Yes. Well, thanks, Mr. Harper. I'll take care of myself. Goodbye. Very convincing. You're getting smart. It's more than I can say for you. Shut up. Why don't you quit swinging that rod around and get wise to yourself? This deal can't even get off the ground without me. It's Frank, honey. Let him in. Look, fella, Frank's going to think you're punchy if he comes in and sees you with that gun. Yeah? Yeah. That kind of stuff makes him nervous, so give me that. Frank, give it to me. Give it to me. What's going on here? You, get him up. Get him up. Who is this? You don't know him? I never saw him before. Where's Clint? I knew there was something funny about him. He said he was Clint. You, boneheads. He's a plant. Who's she? His girl? No, she lives here. Where's Clint? Copper? Where is he? Same place he's been for the last five years. I knew something smelled about you. You're a genius. Both of you. May, you go out and start the car. What's the deal? We're getting out of here. That's the deal. And these two with us. What about the job? There isn't any job without Clint. Forget it. I'm not forgetting we gave you 15 grand. We'll settle that after we get out of here. Now straighten this joint up and get your stuff together. I want to be on the road in 10 minutes. I had no way of knowing if the phone call had worked, but at least I felt sure that none of them suspected anything. Frank walked us from room to room at gunpoint while May and Ward went through the house gathering their things. It took longer than they expected. It was almost 9.30 when Frank herded us out through the front door. Still can't find your car keys? No. I still think he's got them. We looked all over the house. Fresco. You're wasting your time. It's our time. Fresco. No. Nothing. How about her? I don't have them. Take a look, May. Well, who'd have thought it? Little Miss Trimble Chin. I'm sorry. It's all right, Nora. Look, I'll make a deal with you guys. You've got nothing to deal with. Sure I have. If you let her go, there's nothing we can tag you with. You're kidding. Not even a little. Technically, the only thing against you so far is housebreaking, and we can forget that. But if you put her into that car, that's abduction and the Lindberg law. Get into that car. Don't wait. Wait a minute. Let's hear this. What about Clint? What about Clint? He's still in jail. He can't get in trouble for aiding an escaped convict if he hasn't escaped. Yeah. And what do you come in? Well, I go to the L.A. police and tell him who I am, a cop. Then I say it didn't work. Nobody showed up here. Who are you kidding? I was to keep the girl from talking. Common sense. She wants to get out of this alive. Well, who says she won't? Ask your friend what he's got in mind for us. Now, Frank, wait a minute. Shut up. I'll do the thinking. You will not. We didn't put a 15 grand to buy a murder wrap. You bought into a deal that's gone sour, and it's going to get worse if we turn this cop loose. Okay, he hasn't got a thing on us. What about the bank job? That was you and Clint. Right the first time. That's why there isn't going to be any deal. Maybe you're clean as a whistle, but I'm filthy. Now get into the car. We started down the driveway toward the road. I scanned the stretch of highway leading along the bluff. There wasn't a sign of anyone in either direction. I looked back at Ward's car following us down the hill. Then I felt May press the gun into my side, and I saw she was yelling at me. Turn around. What's the matter with you, you deaf? Shut up back there. If we take this road left, where does it go, Copper? Why, toward Sunland, I think. Well, that's as good as... May, give me that gun. What's wrong? Look. I never saw anything so beautiful in my life. It was two squad cars, one on each side of the driveway, parked along the inner edge of the bluff. There wasn't a shot fired, and after Ward and Frank, and poor May had been taken into custody, I couldn't resist. I had to tell someone. You know, May was right. What do you mean? When she asked if I was deaf, that's just it. I am. I'm deaf as a post. You know, I... I knew there was something. I can read your lips, but I'm deaf. That's how my boss knew there was something fishy about the phone call. I never use the phone. I can't. Oh, I don't mind. I beg pardon? I don't mind. I'd rather talk to you in person, anyhow. This is Anne Blyde again. Did you ever stop to think that one of the most perfect, the most beautiful forms of art is prayer? For art, whether it be painting, sculptor, the theater of any of the long established modes of expression, is only one form of man's attempt to reach perfection. The painter puts an image on canvas, perhaps the likeness of a mountain, or in modern art, a picture of his impression of the mountain. It's the same with a sculptor, except that he uses marble instead of canvas. In the theater, the actor whose portrayal of a fictitious or historical character is most perfect is considered the best actor. You see, art is an attempt to reach the infinite, the perfect. And that's why I say prayer is the greatest of the art forms. For in prayer, our dialogue is with God. And by it, we create a thing of beauty. We forge a bond between ourselves and God. And when we pray as families, the bond is strengthened by just that much in the name of him who said, where two or three are gathered together in my name, I am in the midst of them. That's why family theater tells us week after week. The family that prays together stays together. More things are wrought by prayer than this world dreams of. From Hollywood, family theater has brought you transcribed Nightcaller starring Anne Glythe and Raymond Byrne. Others in our cast were Vivi Janus, John Daener and Ben Cameron. The script was written and directed for family theater by John T. Kelly with music composed and conducted by Harry Zimmerman. This series of family theater broadcasts is made possible by the thousands of you who feel the need for this type of program, by the mutual network which has responded to this need, and by the hundreds of stars of state screen and radio who give so unselfishly of their time and talent to appear on our family theater stage. To them and to you, our humble thanks. This is Tony Lofrano expressing the wish of family theater that the blessing of God may be upon you and your home and inviting you to be with us next week when family theater will present the pox starring Tyrone Power. J. Carol Nash will be your host. Join us, won't you? Family theater is broadcast throughout the world and originates in the Hollywood studios of the world's largest network. This is the Mutual Broadcasting System.