 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 stare down from the height of your plane and your brain keeps whispering. It's Masafuera, that's all it is. Just an island 300 miles off the coast of Chile. But both you and the beautiful girl beside you know it's more than that. It's the last stop, the last time around. A death trap from which there is no escape. Listen now, as escape brings you Tony Barrett's story, the target. The drink, senor, you see how quick. Another one of your talents you can make like a waiter when necessary. In Chile, senor, a man does many things to live. The waiter was busy so I got the drink, it's not a reason for angry. Alright, Pepe, alright, forget it. You are angry? Look, let's not play games, he's an hour late now, where is he? Perez? He will be here. I watch with great care, he has not come in yet. Trust me, senor. You haven't got much choice, have I? He's being late, is that part of the build-up, part of the sale? You demand prominence in informers, senor? You ought to be used to it by now, huh? You never get used to it. Because you want something. An assurance that this time you're buying the right thing, the magic words. Senor, whereabouts of Arthur Madsen? In your fall for it every time, and move on the way the whispered words said to go, Caracas, Lima, Gochabamba, and now, Taután? Taután, sit in one more crummy little bar, wait for one more sly little man with a word for sale. How long you search for him, this Arthur Madsen? A year. You're watching that door, you're sure Perez hasn't come in? I'm sure you know him. I know Perez, senor. Senor, why don't you relax yourself, senor? Think of something of more pleasantness. Like what? Like the lady of great beauty in the next booth. From your country, is she not, senor? Yeah, way off base. Okay? Joint like this, she must be out of her mind. That's fine, all we need now is a beef. Go see what it's all about, Harry. See, I'll be right back. Senor, senor Kennedy, call me quickly. Harry, what is it? Look, senor. There on the floor. Is he dead, senor? What do you think? That knife's got him pinned to the floor. I... I'm sorry for your sake, senor. What are you talking about? The dead one. He's the one you are waiting for. He is Barris. A rat. Another blank. Another dead end. What is it? What happened? Forget it. I've got to see. You wouldn't want to, it used to be a man. Named Perez. Listen, get me out of here now. Please, I can't be found here. Relax, it's a killing. Want a drink? I've got to get out, please. Peppy, wait here for me. Come on, lady, stay close to me. There's a cab. Aren't you coming? No, no, you'll be all right. Cops will be here in a few minutes. A lot of questions, they'll want answers. Tell the driver Quavus Hotel. Caratera, tiene la señorita al hotel Cuevas. I'm at the Royale. Call me in an hour. What will I ask for? Kennedy, Vic Kennedy. My turn. Eve, Eve Coleman. Your call. In an hour. She was, she was lovely, senor. Yeah. What will you say if the police ask about her? That she didn't like blood. Bueno. Come on, Peppy, you know what the deal will be. The cops will come, they'll see the last questions. And it'll end in drinks for everyone. Because life here is cheap, no? I didn't make it that way. Come on, I'll buy you a drink. We'll drink to Perez. He wasn't informer, senor. You always drink to a dead man, even if you wouldn't give him the time of day while he was alive. If you say so, senor. I say. You, you are an unhappy man, senor. I'm sorry for that. Yeah. I'm an unhappy man. Once in your room you will sleep, senor. I told you I want to talk, come on. Buenos noches, senor Kennedy. Do you have any messages for me? No, senor. You sure? No phone calls? No, senor. I'm sorry. Get me Miss Eve Coleman at the Hotel Cuervas. Of course. You take it in your room, senor. I'll take it here. Um, moment please, sir. Senor, you sure you don't want to stick around, baby? Senor, it's Eve Coleman. That's what I said. I'm sorry, senor, but there is no one registered there by that name. Senor. All right, all right, forget it. The lovely one who didn't like blood? Yeah. This ain't my day. Senor, why didn't you... I told you I didn't want to sleep or want to talk. Do come in there, boy. Surprise? Yeah. I was under the impression this was my room. That's not much of a greeting for a man who's come all the way from Hartford just to see you. Are you getting all your manners, Kennedy? This is Pepe Galvan. Mr. O'Brien Pepe, chief claims man of the company that puts clothes on my back. Be nice to him, he's a big man. I, I think I better... Social call, O'Brien. Come 2,000 miles just to see me. You're a spending company, money. No, we've plenty of it, dear boy. Even after pouring your expenses down the drain. Considerable expenses, I'd say. Sit down, Kennedy. You can take me off at any time you like. You got a better man? Put him on it. Oh, no, dear boy. Temper, temper, temper. Wouldn't be fair to you, would it, Kennedy? After all, Arthur Madsen was in your custody. Did he, uh, escape with his bank's 100,000? You come all this way, just tell me that. They have a new idea back home, Kennedy. That perhaps you're not trying too hard to find Arthur Madsen. That from your point of view it might be just the thing you don't want to do. I'll make myself clear. You don't have to fire me, O'Brien. I quit right now. I don't be an idiot, Kennedy. You could tell them they were right. You're not sure it's job as long as you live. You know, Santiago, Kennedy? The boat's still run. I can get there, why? Well, they didn't come down here just to fight with you. You got one last chance. Now, listen to me. Masafuera is an island 300 miles off of Santiago. I-I-I know where it is, sir. A return on an office wanted describes an American living there. The description fits Arthur Madsen. You hear me? I heard you. Now, take a look. Do, dear boy, do. And I'll tell them back in Hartford that you still try it. Bye, dear boy. Bye. Pepe, you really know Santiago? Sí, señor. You still got a job. Get down the docks. Get passage for both of us for tomorrow. Sí, señor. It's a three-day trip, you know, on a fruit boat. I'd have to make this one if it was a row boat. Pick me up in the morning. The cabin is not so bad, señor. I'll go out on deck for a while. You unpack. Sí, señor. I do that. I never even said thanks, did I, Vic? Vic? You're angry. No. You're angry. You helped a girl who never said thanks. I never called. Why? Was it too much trouble? Pigeon, Vic. Sí, señor. This is a hotel que vas. No, señor. There's no lady here by the name of Eve Coleman. Sorry. Now, why? A joke? A whim? What? Not a whim. I want an answer. It's too long a story. Vic. I got the time. We got the time. You're wasting it. You're wasting... Not too much. You know that? Yeah. Bad habit. Let's go sit down. I'll set up these deck chairs. What do you think? Deck chairs should always touch closer dying. Better? You know, some day somebody's going to get smart and make a deck chair for two. You're quiet. It's the setup. To sit with a girl like you to look out at places with names like Antofagasta, Galdera. You could get to like it. Yes. Eve. Yes? Eve, the way you ran out on me in Taltán. Now you're here. Ah, questions. I can see them coming. Where are you going? I'll see you at dinner, darling. You'll be pleased. Sit down, Patty. You look like a man who is in love, but he's not happy about it. Is something wrong, senor? Old habit. Occupational hazard. You always add. Two and two don't come up four. It's bad if it comes four too easy. Bad again. She said you want you to get a radiogram off for me. To Hartford, Connecticut to an insurance company. What is it, Vic? Nothing. Ah, nothing, the man says, just like that. And his eyes narrow and his lips tighten and he wonders how to begin. And when I ask him, what does he say? Nothing. That's what he says. And he fingers a sheet of paper in his pocket. Hopes I don't notice. Very pretty. You're good with words. Vic. I got a present for you. You said a word and they hurt. Vic, please. Because they tell me something. That there is no Eve Coleman. Only a girl who calls herself that. A girl who's... Who's really Mrs. Arthur Mattson. Yeah. That's who I am. Mrs. Arthur Mattson. Any complaints? Any... Vic. You are listening to The Target, tonight's presentation of Escape. Tune in Monday night and meet Coralus Archer here on CBS radio. Remember, on most of these stations every Monday night, come on and meet Coralus Archer. And now back to Escape and the second act of The Target. Invite me in, Vic. You're not away yet. They asked me if you were sea sick when you didn't show for dinner. I'm sick. I missed you. Yeah. Did it hurt to stay away from you, Vic? Tell me how much it hurt. Get out of here. Is it the name? Is that what bothers you? Why don't you try, darling, it's easy. Laura Mattson. Nice? What is it with you? What kind of dame are you? You ask that. You. Look. At what? A child who reached for the moon and sulks because he found it a different color? You can't afford to sulk, Vic. Not you. What? The last time I saw my husband was an hour after his escape from you. How does a little man like Arthur Mattson get away from a man your size, Vic? How? He buys, I think. You're out of your mind. You want the price? $5,000. Arthur told me. Hurtting me won't change it, darling. It doesn't change anything. He lied to you. You hear what I say? I don't care. Don't you understand that? Not about any of it. I love you, darling. I. I. Say it. I want to hear you say it. Vic. I love you, Laura. I love you, Laura. Senor. You find out anything? Catch my breath, senor. Where is she, peppy? Where? I try to cabin every place, every place. Easy, easy, senor. I just found out from one of the sea men. He saw her leave the moment with Doc. She was the first one off. What? Well, she couldn't. You sure? It's what he say. It must be so, senor. She's nowhere to be found. I'm sorry, senor. You take the stuff to the hotel. I got things to do. Be with the Santiago police most of the day. Which hotel, senor? What's the best? Casa Santiago. Right on the beach. It's nice for swimming. All right. That's it, then. Last time around. Might as well go first class. Must have been a long visit with the police. It's after eight, senor. I haven't seen the chief yet. He's at the other end of the city all day. He'll be here in any minute. Then I see you in the morning. You like the room and the radio? Yeah. Senor Kennedy? That's right. You, Captain Delgado? Very late, Delgado, with much apology. Oh, what? Come on in. For taking so long to return your call. Oh, forget it. You didn't know I was coming. But of course I did, senor. Your senor O'Brien said so. Sit down, senor. Drink. Nice idea, senor. Very nice. O'Brien phoned you, huh? Me? I think we talked for maybe twenty minutes. A long time. Yeah, O'Brien can talk. Here's your drink. Gracias. A cara lo que merezca, senor. My Spanish is not good. Translation. To each what he deserves. Or you call philosophical, no? Yeah. Well, I'm sure O'Brien told you the whole setup, then. See, everything. What do you think? It's possible this Arthur Metzen is on Massa Fuera. If so, he won't be hard to find. A wild island, senor. Beautiful but no different than it was thousands of years ago. Prominent, huh? See, they will know if an American lives on that island. They don't you know? O'Brien amigo, he asks me the same question and I try to explain to him. Explain, explain what, Delgado? It's a simple fact that Massa Fuera is just an island and that I have no, how you call, jurisdiction there. Comprehend them? Mmm. Yeah. Yeah, I understand. Then we have no problems. None? Well, no. The day has been long and the bed will be as a friend. If there is anything I can do for you here in Santiago, you will give me that pleasure. You've done it already, senor. Then I say good night to you, senor, and good hunting. I hope you find this Arthur Metzen before she does. She? The young lady. The lovely young lady who asks my lieutenant about Metzen only this afternoon. Buenos noches. Open your eyes, Vic. For me. Laura. A man on a loan on the beach at night is trying to wash something out of his mind. Oh, Laura. No questions? No where have you been? I know where you've been. Doesn't matter. Say it, Vic. I want to hear it. I love you, Laura. I can't. I love you. Sweet Vic. Laura's Vic. Worried, Vic. Metzen, what are we going to do about him? Why, Laura? Why? You've always known you'd have to do it. Now listen. You took a bride, darling, remember? I don't want my Vic in prison. I want him with me. Close to me. Kill him, darling. Laura. All that little nothing like him sitting on an island with all that money. Our money. You hear me, darling? You understand? Our money, Laura. There's a plane in the morning. They must have where it. We'll be on it. Together. We'll be on it. A white man hunting Laura. Oh, not eight hours of it. Elgato didn't tell me it was all uphill. Vic. Huh? What is it? Clearing just ahead. I think it's the top. It better be. Come on. In time for dinner, Mr. Kennedy, I waited almost a year for you. You're looking well, Laura. Tire, but well. Hello, Arthur. You want to freshen up, my dear? Arthur. And while you do, I'll entertain Mr. Kennedy. What my island has to recommend it. Freshen up, Laura. Matteson. Now, let me play host, Kennedy. I'm out of practice, but let me try. Your drink, Laura. Yours, Kennedy. Lost his mind. Is that what you're thinking, Kennedy? That Arthur Matteson lost his mind? A man who shows you a shabby little house he loves and the stone terrace he built himself and makes you a drink as civilized people do. Values change, Kennedy. This is all I care about now. This terrace, the view from it. Even the rocks a hundred feet below. A great lesson, Kennedy. From here, everyone's a little man. I'm glad you're happy, little man. How am I going to die, Kennedy? Will you use a knife, a gun? How? What's the matter with you? I don't mind. Not really. I've had a year away from her. A whole year. You'll pray for your island. It won't take too long. You're crazy. Laura's doing better with you, Kennedy. You're going to kill for her. I only stole for her. You stole for yourself, Matteson. No. That's what she fed you. Poor Kennedy. Shut up. Shut up. You told him I had the money, Laura. Lovely, lovely. Kill him, Vic. Now. What are you waiting for? Who's got it, Matteson? Who? She has, you idiot. She's always had it. But I'm the only one who knows it, aren't I, Laura? With me alive, you'd never be safe. Never be completely sure. You're going to do your own killing, Laura. Let him live too long, Vic. He shouldn't have said that. Don't move, Vic. You're going to kill us both, Laura? Both. Like you killed a little man in a bar back in Tautown? I bought that, darling. You were getting too close. Say goodbye, Arthur. Nicely. Not alone. I won't go alone. Under the direction of David Friedkin and Morton Fine, The Escape has brought you The Target, a story by Tony Barrett. Featured in the cast were Whitfield Conner and Mary Jane Croft. Also heard were Edgar Barrier, Herb Butterfield, Hans Conreed, Melita Milo, and Jane Avello, your announcer, George Walsh. The special music for Escape is composed and conducted by Leith Stevens. Next week. You're at the end of a journey you've committed murder to make. A barren wasteland of India, silent desolate. Where there is a cave and a carved image of the goddess Kali, whose heart is a ruby, big as a grenade, and which is guarded by a smiling old man, from whom there is no escape. So listen next week when Escape brings you Ross Murray's story, The Red Heart of Kali. An honest doctor resists temptation but gets into trouble anyway tomorrow night when Mr. and Mrs. North bring us their latest thrilling mystery. And yet, CBS Radio has a date for mystery with Mr. and Mrs. North tomorrow night and you're welcome to on most of these same stations. Stay tuned now for Night Watch, which follows immediately over most of these stations. Where there's gun smoke, there's Western Adventure Monday nights on the CBS Radio Network.