 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 of fortune is within your grasp riding a number on a roulette wheel hundreds of feet high while at your shoulder laughing at you a killer clown from whom there is no escape listen now as escape brings you David Friedkin and Morton find story carnival in Vienna in the old days the roll of tenements used to be called a shut-in off and there was a war and it was called rubble and it was cleaned up and it was just an empty space in the old part of Vienna that's where the carnival set up bitch and windstand wheel the midway act of the high wire for a valley ride palm readers and the biggest ferris wheel this time of the ride 20 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 that's the way it is and there's Lily who works a gas whenever it's needed she's got red hair we get along a fly every time you pass a shiny thing a mirror or anything look at your hair one of the good boys the next time $10 American money maroon is here pink silk liar what do you mean liar you are vain you are proud and you have nothing to be proud of you are healthy you are a thief you are you mean thief and who wants another very what baby one of these days back to the state you'll never go to this day you cannot I know Joey tell you and although I did not want to know I bet you didn't although I did not want to here and once the guy wrote down his name for me to analyze and I saved the signature in for you for three months all over the place before they almost caught up with me one day I would have told you I didn't do anything where the house and he told you all listen and you told me how you fled from your country to your country and how you've been traveling from carnival to carnival will you listen to me come on let's walk listen Lily one of these days I'm gonna get my and I'm gonna show you a clown why don't you do something about the clown why should I do something about him I like him I'm going far away less but they wouldn't clown and make a nice little game with a purely mechanical love compared to those customers into my hall of mirrors why does he upset you and noisy makes it come on I said come on what else is he here I don't know you stop and bring like a peacock and love that my advice change the record in that country but we want if you were upon your shoulder laughing oh it's not bad it's laughing if you know let's forget it I love to watch the phone come look better in the state he's a part of what's the matter huh yeah the way Where are you going? Just wait. Without them spending here, you'd get out of Scythe and Mark and South Lure. Joey. Come on, let's take a walk. Thank you. Good luck. All right, Joe. Good luck. I'm back here, Joey. I've got a trailer. What for? Back here. What's the matter with you? Been friends, haven't we? Pumped into each other in a sojo bar and money's right off. You sure? Besides that factor, unless you're a good boy. Good friends. Good shield for any Connie in the world, right? I don't mind you took a drink and spilled a lily about me. One way or another, she had to find out. What's this all about? You, uh... Heist of the Wallet just now. Huh? I'm a guy. Tourist, right? Tourist, huh? He was with the blonde from Maxie's. He had to be a tourist. No way he was dressed. Green shorts with a feather in his hat. Give me the Wallet, Joey. I'm taking the Wallet. You're talking to me like that, Joey. You're close to dead. I'm telling you, I didn't mean it. Come on. You done it? You done it? Now, we'll take the Wallet and... Joey? In here, Joey, inside your shirt. Ah, I'll show you that. Ah, let's see. Tourist, all right? Oh, Max. Boston man. Cards, cards. Where's the tow? Where's the tow, Joey? You already left the tow out of there? Wait a minute. You know what, Joey? You'll never know. Five-pound chum friend of mine. One day, and I'll catch up to you. And when it does, when it does... 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. Hand on the knot of a $10 tie. And he winked back at me in 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 shorts, the man with a feather in his hat with a blonde from Max's. And away it happened, I pumped into them coming out of a hole on mirrors. I trailed them over to the Ferris wheel, watched Mr. Max slap down some change for a couple of tickets. Waited until they get into a carriage in a wheel. Got enough of you. Then I walked over to Allison, and he had a good time for a bit. Hello, Allison. Hello, Allison. Working hard? No, Allison. Fresh this stick, the wheel's gone. Pull it back, the wheel's gone. Hey, how about you and... Marlene. 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 go. Go on, Rita. Biggest Ferris wheel inside of the river. Twenty carriages in a four-minute ride. Mr. Paul Max from Boston, Mass, in the green one with a blonde, enjoying to keep them in the carriage like Gettys twenty-three thousand dollars that was the trick. Twenty to one shot. Scoop a handful of sand and gravel off the ground. Into the oil intake. Another handful. Another. Four minutes with fourteen times around. Eight times and nothing happens. Nine. Ten. Eleven. The biggest wheel in the world. A shining gadget to come up green with a couple of handfuls of sand. Maybe it wouldn't work. Maybe I needed another gimmick. Maybe I'd... A carriage went by. A green carriage. A green carriage with a blonde. And the carriage went by. And I opened them the wheel and stopped spinning. The 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. Twenty-three thousand dollars on a twenty to one shot. I just hit. 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 nights 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. A little while the small riot of Carny wound down. No attraction added to early afternoon with a danube closed. Now the kids took to it. Climbed the girders and hung from them like skinny ragdolls 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. Grinning up at the merchandise display a black top stocking in Bohemian petticoats. And it's a very, very, very top. Oh, very. He went 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 midway. Passed the gas through. Passed the shooting gallery. Passed him. Passed the clown. What can you say? Passed where the Carny started to die and got to be mud and litter where the trailers were. Mine bright and shinier than the rest. Because there was a displaced storyline very handy for the dust cloth who needed the work and the job. Class in penmanship. Oh, gentle, the writing hand. Scroll. Circle. And slam. And then Johnny Allison into Paul Mack. Gent from Boston Mass. Paul Mack. Paul Mack. What you doing, Johnny Boy? What you doing, Johnny Boy? What you doing, Johnny Boy? There's a bottle of schnapps over in the cupboard, Joey. Drink yourself dead. Uh-uh, no. Uh-uh. 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. I don't want not to like you. Lush. Don't talk like that, Johnny. You made a noise like twenty-three thousand dollars when the hurt you laughed. I don't know the angle, but I won't end. Half, Johnny. Petal you dreamed of, Madam Souther. That's her picture, not mine. What was you doing when I come in, Johnny? Writing a letter? Practicing, maybe. Getting the old feelings digits just so you... Let me see, Johnny. 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 buddy. I squeeze it 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 doll. You say half to me, Johnny. Say half to twenty-three grand, and I don't squeeze no more. Ah, 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'll kill you. I'll kill you. Johnny, boy, I'll kill you. Johnny, boy, I'll kill you. Come here. Come here. I'll kill you. Nobody can play you for a sucker, Johnny Boy. You help me up, and I'll... Johnny! It's got to be a dreamer. Like this. Just like this. He was as dead as I could make him. I picked him up, carried him to my car, dropped his body in the front seat next to me. The weather may have seen it, figured the only thing to figure. Joey was stoned the day. The hair 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 it, and poured the rest down Joey's throat. I slid the bottle into his coat pocket, eased him out of the car. What was in the alley with some garbage can, scraped clean, some phony dogs who just stared, and a no-name lush. In the trailer by half past one, I could forge the signature of Mr. Paul Mack with a pen 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 stop us. 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'm Paul Mack, the Boston Massachusetts... Of course. Well, my dear, let's get with it. Of course, of course. Something... Nothing, nothing, but nothing. Everything is in proper order. Only... Only what? The thing you telephoned yesterday. You informed us you would not come here until ten tomorrow morning. Oh, you mean... The thing you telephoned yesterday. It was off noon. Surely you do remember? Surely I do remember, my dear. Something came up between my plans, though I'm here now this afternoon. Does that make a difference? No, no, no. Surely no. Except only that it gives us short notice to gather the money. A thousand Swiss dollars, was it not? Twenty-three. A thousand? A thousand, my dear. That's the notation I had. Here, I show you. Here, that you telephoned yesterday that you would come tomorrow. That is a five thousand. Oh, you're good. 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. Of course, of course, Mr. Mack. But for me, though, that I may compare signature with formality only, isn't it? Oh, I... I want to. The pen. Thank you. Thank you. And now, only moments longer, I must cooperate with Mr. Schindlach to formality. Oh, sure. I'll wait. Is it 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 this receipt. Oh, yeah, I know, I know. Thank you, Mr. Schindlach. You understand, Mr. Schindlach. Of course. However, there's the thing. If you don't mind, though... Look, I'm in a hurry. What's he doing here? How does it feel? How does it then feel when he can step into a bank, ask for tens of thousands of dollars and get it? Mm-hmm. Feels good. Wonderful. It's Johnny, baby. Open up. Come here. Oh, baby, baby. An hour. And I missed you. I'm a fool. Mm-hmm. Oh, but Johnny, the excitement, the deal being stopped, and the men at the very top of it screaming and screaming that he has been robbed. How is a man robbed if he's from top of town? Yeah. Yeah, it's funny. Lily? Yes. Well, leave it. See ya. Yeah. What do you want, Lily? What are the dreams? Paris, Rome, London? Dream one over me, baby. Johnny Allison makes it come true. He's crazy. I'll grab a coat, Lily. For 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 to your fingers or your toes. Is the money you have saved this front gate superintendent to the chief side street carnival? With $23,000. What are you talking about? My gift? Like I always said I would. $23,000 worth. Come on, cover it with a coat. Say, did you get that money, Johnny? What difference? It's green. It makes a pretty sound when rubbed together. Make it whisper and advise me for you and silk for me like I saw once in a shop in Rome. I said, 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 his head. Me, baby, me, Johnny Allison. Come on. 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 talk. Promise me. Dream man, man of nothing. See? Who would go with you? Not Lily. Not I. You're lousin' it, baby. Not with you. Promise man, dream man. Stupid man of angles and gimmicks I'm promoting that. You don't think that you did the truth of yourself? Anything else you need to say? You are just joy and luck. Drunk. Drunk with yourself. Drunk with your stupidity. Drunk with your drunkenness. Joy. Joy. Joy. Johnny Allison who is joy. Come on. Joey. Joey. Shouldn't have called me that. Not Joey. You shouldn't. I stood over it for a long time. For all the time Lily needed. For her fingers done clenching. Trail along the floor. For 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. A back exit to the world through the hall of mirrors. And I was on my way. I'm still a clown. But this time I didn't care. Johnny Allison on his way with 23 grand to take him wherever he wanted to go. The hall of mirrors. And I know it like a book. Like I knew the back of my hand. Stop turning the corner. Not this way. Sometimes a guy forgets. Palace of fun. Hall of mirrors. They had time to get in. Have fun trying to get out. Whoever I went Johnny Allison came right back at me. Thousand Johnny Allison. Me trying to beat a 10 cent garage. Easy to get out. Easy. I didn't see myself I wouldn't be there would I. I didn't see myself I wouldn't be there would I. I couldn't get all of them. Too many too many. With me. He didn't look so good anymore. He didn't look like anybody I know. Yeah. Like Joey maybe. Like you. The way she said. Yeah. He really did it. Yeah. Yeah. At the floor. To kill a girl. Then to hide in the hall of mirrors. Such. To pity. Perhaps not. For here a man can. Laugh at death. With Johnny love. With Johnny. And here a man can observe himself in a thousand mirrors. Fear of the hate, Johnny, from every angle, that is, if a man can stand looking at himself. Come, Johnny. Come on. Escape has brought you Carnival in Vienna, a story written and directed by David Friedkin and Morton Pines. Featured in the cast were Jack Moyle, Lillian Bias, Jack Krushen and Hans Connery. Also heard were Barney Phillips, Robert Boone and George Peroni. Your announcer, George Walsh. The special music for escape is composed and conducted by Lee Stephen. Next week. You are flying a plane high above the island of Massa Fuera, 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. So listen next week, when Escape brings you Tony Barrett's story, there was a crooked man. America listens most to the CBS radio network.