You, finding life pretty dull, dreaming again of exotic places, wishing you were somewhere else, we offer you Escape. Escape, designed to free you from the four walls of today for a half hour of high adventure. Escape with us now to a train rushing through a European night and a beautiful woman who demands your help as Anthony Ellis tells it in his exciting story, Roulette. Well I'm afraid I haven't done in Mr. MacLennan. Nay laddie, let me. Oh thanks officer, but no. It's against the laws of nature that the good the Scot should gamble in the first place, so a few francs lent will only increase the MacLennan clan's aggravation, you'll oblige me. Very decent of you Mr. MacLennan, but I really couldn't. Will you be leaving Monte Carlo? Yes, Paris for two or three days, then the holiday's over. You have the fare? Yes, thanks. Good, good. I expect to go to Paris myself in a couple of days. If you're still there, I wish you'd give me a ring. George Sank. Oh I shall. Well good luck at the wheel. Roulette, the game for idiots except I cannot lose. Good luck to you Richard. I'd been spending the summer holidays on a cycling tour of France. Father had insisted, said it was part of my education. After three weeks, I'd seen half the cathedrals in the country and had developed a healthy loathing for bicycles as well. So when I reached Avignon, I sold mine to a chap who was obliging enough to pay me far more than the blasted thing was worth. I knew the family at home would be terribly upset, but after all I was 20 and I thought it was about time that they realised it. Trinity College was then two weeks away and I decided with the bicycle money to have a lark in Monte Carlo. That's where I met Mr. MacLennan. He was awfully decent, showed me about the place and chucked money about marvellously. I thought he was probably in some sort of black market business because he seemed quite hush hush about everything. I had smashing luck the first two or three days at the casino and then, well, as father always said, gambling weakens the mind as well as the purse. When I left the roulette wheel that evening, I had just enough money for fare to Paris and home. There was a breeze blowing from the Mediterranean as I walked to my hotel. It was lovely and I didn't have a care in the world. Monsieur, please. What? Please, may I speak to you for a moment? Oh, I say, me? Oh, I say. I must talk to you. Really? I was watching you tonight at the casino. You lost your money, didn't you? Yes, I'm afraid so. What would you say if I told you you could get it back and more? Fifty thousand francs. Fifty thousand? Please, please, we cannot talk here. Is there somewhere? Well, yes, yes, there's a cafe across the street. No, it's too dangerous. Somewhere that people are not. That people are not? You are at a hotel. Oh, oh, yes. But wouldn't that be rather, well, I mean... You must trust me. I'm in desperate danger. Please, hurry. We will go to your hotel. It was a devilish awkward situation. I mean, taking a girl to one's hotel room, it simply isn't done. And I hated to think what father would say. On the other hand, one couldn't let a lady down, especially her. She was beautiful. She was the most beautiful woman I'd ever seen. And she was very frightened. I will have a drop of brandy, if you don't mind. No, not at all. Would you like to take your coat off? In a little while, I'm cold. Well, you'll feel better in no time. Here we are. Thank you. I say, that's quite good. It always chokes me to do that. For being very kind, Mr... Mr... Oh, I'm frightfully sorry. My name is Richard Ferris. I am Tina Vellon. What a charming name. I mean, it goes rather. It is not my true name. Mr Ferris, I do not wish to sound melodramatic, but I need help so terribly. I'm awfully sorry. Really, I am. If there's anything that I... But there is. I must go to Ankara. Turkey? It is of the utmost importance, and there are men who will stop at nothing to prevent me. But why? I mean... I cannot tell you. What about the police? I cannot go to them. There would be questions which I may not answer. Oh, I see. Mr Ferris, when I saw you this evening at the casino, I said to myself that here was a man I could trust. His young, English, and a gentleman. I say... But he has lost his money at roulette. I will make it a business transaction, Mr Ferris. Take me safely to Ankara, and I will give you 50,000 francs. Well, I'd love to, really, but... Well, you see, next week I have to be in school. That is college, Trinity, Cambridge, you know. Here, Mr Ferris, Richard, 10,000 francs. The rest at Ankara. Please. Well, it's not the money. Really. But you see, they might not dare if someone like you were protecting me. Well... Take the money. It is a business transaction. Take it. I beg you to do this for me. I feel like a cat taking money from... Well, I mean... She was very close to me, and I saw that she was quite a bit older than I was. 26, possibly 8. Oh, but very beautiful. I realised how serious the thing was. After all, it could mean life or death to me, too. One must be practical. So I took the money. I packed my travelling case, and together we left the hotel. On the way to the station, I bought a pistol, as it seemed the thing to do. Tina had decided to take the train as far as Genoa, and then change for Naples, where we could catch the boat for Turkey. If someone was following us, he didn't allow himself to be seen, and we managed to find ourselves a compartment alone. Well, here we are. You comfortable? Yes, thank you. Would you be kind enough to draw the shades? Rather. I say, Miss Bellon. Please call me Tina. Tina, here. Have a look out of the window for a sec. Those two chaps standing outside. Draw the shades, quickly. Nasty looking. Are those the ones? Yes. I hoped that we could escape them. They will be on the train now. Yes, I'm afraid so. At what time do we arrive in Genoa? 2.15. That's tomorrow morning. We have a ten minute wait before the Naples train leaves. I do not think that they will attempt anything while we are still in France. But once we cross the border. Look here now. You're going to be absolutely safe with me. I don't want you to worry. I may look young, but I've had a great deal of experience. That is, well, I play rugby at school and I can manage things perfectly. I'm sure you can, Richard. That is why I wanted you to help me. We settled down for the run to Genoa and Tina dozed off. I just sat and looked at her. She was very lovely. Everything about her. I couldn't make up my mind where she came from. Oh, not that it mattered. But I wondered for a moment if father would have approved. After all, she wasn't English. We'd been traveling for about two hours and a half when the trouble began. Yes, Mr. Paris. Yeah. Who is it? May I have a word with you, please? I should say not. It would be advisable. Now hop it while I ring for the conductor. This is not your concern, Mr. Ferris. We have no desire to harm. Oh, I'll bet you haven't. Just tell the lady that it is a long way to Ankara. Have they gone? Yes, yes, I think so. They will try again. Look, it really isn't any of my business, I suppose. But what is it you've done? Why should they want to kill you? Let us say that I know something that is very important. But you're so... Well, I mean, how did you ever get into a muddle like this? For love, Richard. Oh. Of my country. I think that a man would be very fortunate if you ever loved him enough to have a look like that in your eyes. Perhaps someday I shall look at a man like that. Oh, sweet Richard. Now I want you to have some rest. If anything happens, I'll wake you. Oh, I say I couldn't. Why, they made you... I don't think so. But if they do, I have this. I say. You're not afraid of anything, are you? Well, night-night. Wake me up when we get to Genoa. Hello. You look rested. Hello. Anything stirring? While you slept, I have been thinking. What? This is a great deal that I ask you to do for me. Even for 50,000 francs. Oh, but I wanted to. If you wish to turn back when we reach Genoa. I wouldn't think of it. I will not think of you as a coward. It is not your affair. And you are in danger too. Well, as you said, it's a business arrangement. 50,000 francs, I'll take you to Ankara. Is it so easy to put a price on your life? No, but I wouldn't want you to be harmed. You are a very odd young man, Richard. Oh, I'm not really so young, you know. I just look at. Oh. Hey, we're in. Come along. You've got to get that Naples train. Now stay close behind me. No, no, thank you. Can you see them? No. Well, we'll follow the crowd. I don't think they'll try to stop us as long as we're with people. It happened very quickly. We were crossing the station to the platform where the Naples train was standing. Suddenly, from somewhere out of the crowd, a man lurched towards. He took me unaware. And before I knew it, he was just looking to the side. So sorry. How clumsy of me. Allow me to pick up your portmanteau. As he bent down, the blighter hooked an arm around my leg and I was down. Mind your business, you fool. I will. And you, sir, mind yours. It was a frightfully stupid thing for me to do. And obviously what they'd hoped for. In half a tick, a Gilbert and Sullivan constable appeared. But there was nothing comic opera about the way he took me in charge. I was manicled and on my way to jail. And in seven minutes, the Naples train was to leave. I looked about wildly for Tina, but she was gone. And so was the man I had knocked down. CBS wishes to remind you that two of its top comedy shows have returned for another great season. The Sunday Night Amos and Andy and Red Skelton shows. Both programs are heard on most of these same CBS stations. Be listening tonight and every Sunday night this season for Red Skelton and Amos and Andy at CBS, the Star's Address. And now we return you to Escape. I was taken to a booth at the end of the station and brought before a gentleman dressed in a uniform that I judged to be at least that of a general. The arresting constable spent two minutes pouring out my crimes whilst the general, who looked like a bandit, but spoke like one of my professors, listened. So and your name is Richard Ferris? My dear sir, my passport says so. Now can't I pay the fine? It's ever so urgent that I catch the Naples train. Ah, you English. What would you do if there was no prayer to God? I hardly see that it concerns you. You are not serious, my young friend. This is a serious matter. One cannot stride around Genoa striking innocent citizens. Innocent? I'll be blowed. He asked for it. Now why wasn't he arrested, I should like to know. Yours was the offense for striking without provocation. Without? All right then. All right. I'm sorry. I was wrong, quite wrong. But the train, now let me pay the fine. Anything, please. I must catch that train. One must consider the magnitude of the offense. Don't you understand? It's a matter of life and death. Life and death? Well, not exactly. You see, it's my wife. Yes, yes, my wife. We're on our honeymoon. But why did you not tell me this before? It makes a difference. Well, in two minutes it won't, not if I miss the train. 50 lira fine and a warning. 50 lira. How much is that in francs? Frank, let me see the rate of exchange now. Here you are, 500. That should manage. And thanks, thanks most awfully. You're very kind. It must have been enough because they didn't shoot at me as I ran back down the station and to the Naples train platform. I looked at the station clock. One minute. I didn't want to take a chance of getting aboard and yet Tina might have. I dashed to the waiting room and as I did so, I saw the two men through the window. They were pacing up and down inside, back and forth before a door. It was the ladies lounge. Devilish, clever girl. I should have known she would manage alone. And at that moment as the whistle blew, she ran out. Tina, Tina, this way. Richard. Don't be afraid, they won't dare. You see, they've slowed down already. They're pretending not to see us. Hurry up. Any carriage will do. We'll find our own once we're aboard. Richard, you would have been better off with the police. Not me. There we are. Look at your friends. Yes, but I'm afraid we haven't got rid of them so easily. Then how did you manage to get away from the police? It was simple. I said we were on our honeymoon. Now that you are here, I'm glad. Well, I couldn't let you down, you know. I mean, well, I'm awfully keen about you, you see. I understand. And I want to tell you something because I trust you. Yes. If I do not reach Ankara, it is possible that you will. Oh, no, you mustn't even think of that. They will try to stop us again, possibly before we get to Naples, but most certainly on the boat. Perhaps they will not succeed, but if I cannot, I want you to take a message for me. Righto, count on me. You must go to the Ministry of War. There is a man there named Vardis. Tell him you'll come from me. Yes. Tell him that the blow must fall no later than the ninth. The place will be rescuing you. Only then. Richard, what I have told you is the information that can mean death for both of us. And that's why they want to stop you, because of that message. A message which means defeat for our enemies. What bandas? I mean the chaps sending someone like you to do their dirty work. Why couldn't you write or send a cable? There are people in our government who are not to be trusted if the message fell into the wrong hands. Yes, yes, I see. Now you know. By Jove, you really are... you are quite a girl. And you, Richard, are quite a man. It was somewhere between Campilia and Grissetta that the emergency cord was pulled and the train came to a stop. I looked through a crack in the drawn shade. It was dark outside, but a hundred yards away I could see the headlights of a car and moving toward the train three or four bouncing dots of torch beams. What is it? Can you see anything? I'm afraid so. We're in for it. What do you think we are? Wait. Signor, this is the conductor. Open, please. We'll have to use the window. Come on. Signor! I'll go first, then you jump. I'll catch you. Yes. Righto, jump! There's the car over there. Does the search light... Duck down! Now, those bushes down the lines. Try not to make any noise. Oh, that's torn it. Come on, run! As we ran, I heard a voice shouting for us to stop and another telling them not to shoot. But that was strange and I wondered why they wanted us alive. We kept going until we found a dirt road about a quarter of a mile away. It was very dark, but through some trees I saw a glimmer of light that looked like a house. We stumbled across a field to it. It is going to be difficult. They must know the country. Well... If I can rouse someone at that farm, I'll get our bearings. Is it wise? There's no other way. We might find a car there. Wait a moment. What's the matter? I thought I heard... There's a car. I thought I heard... There, you see, coming up the road. Like hounds and hares, eh? Hell, they can't drive across the fields. Come on! Would it be wiser if we parted? One of us would have a chance to get through. Not yet. Oh, blast! They must have seen us. Are you all right? Yes. Oh, if we could just get a car. Look. Behind us, torches. Three, four, five, six, seven, eight. Oh, I'm so sorry. Behind us, torches. Three, four, five. Possibly one stay behind to the car. Oh, your friends have got quite an army. What are we going to do? I don't know yet. Si, cosa voli, cosa voli. We need help. We've got a car. Lo capisco, signore, no? All these foreigners. Look, do you see this? A gun. Bang, bang. Do you understand? Madonna mia! Now, look, you say nothing. You haven't seen us. Cosa? He doesn't understand. Well, he knows what a gun is. That's all that matters. Come on. We'll stay behind this door. If he makes a sound, you there. Quiet. Say nothing. Shh. We may have to use guns, Tina. I'm ready. Oh, the idiot. Why doesn't he open it? Open! Open! Yes, yes, that's right. Per via, cerrei, signore. Cerchamo per due omenae. Ho visto qualche persona? Due persone? No, no. No, sono qui, no. Una signora e signori inglesi. No, no, nessuno. No, no, non lo spie. Può avere sua permissione di cercare? Mamma le ha dato. Non sono nessuno, signore. No, no, no. No, no. No, no. No, no. No, no. No, no. No, no. No, no. No, no. No, no. No, no. No, no. No, no. No, no. Stop. Wash up! Just a minute. Sono solo uno, signore. Buon Rufaro. Volepin foarte fuale. じぇ from Rome T kah сем maợR Bottol yeah? lightni la pi bbino worried Us soinity Guna be good en ownsine バr A good chap thanks Acienti Okay, 2020 Good chap Thanks There you are. I hope we didn't inconvenience You're my cosa father but that's a superb Dia for the after Tina Tina Tina have a look through the curtain for you From food Expangion The others may have gone to the back Senior seeing do you own a car Ma cosa? No capisco signore. I knew I should have swatted my Latin. A car. Do you follow? No signore, no, no capisco. They've gone. I can't see them now. Well, we better make a run for it. If we can reach their car before they do, we might have a chance. I say blow out the lamp before I open the door, will you? We mustn't attract any attention here. Yeah, that's it. Off we go. Now remember, no sound, signore. Bang, bang if you do. Molto bene signore, sì, sì. You ready? Yes. Right. It was as easy as pie. They must have believed the old boy's story because as Tina and I doubled back across the meadow, we saw a couple of torches bobbing about near the barn. A question now seemed to be, did they have a man guarding the car? We came to the road and stopped. There, I see one. Watch. You can make out the cigarette. He's leaning against the mudguard. Yes. Stay here, Tina. It's all right, Tina. Put him to sleep. Hop in. Yes. Get up your hands, bloody boy, and you too, miss. You want to have a little talk with you both. The searchlight had been switched on and was blinding me. But I could hear well enough, and I knew that voice. It was Mr. McLennan, my friend in Monte Carlo. Mr. McLennan. Well, now I understood why they let us escape from the farmhouse so easily. You haven't been in the business as long as I have, Richard. I knew the old man was lying about not seeing you, and I expected you tried to get her motor. You did. Well, what do you intend to do? Ask the young lady. She knows. Oh, it's going to be that, eh? You should have known better. But I'm sorry you got yourself concerned in the matter. I rather liked you. Look here. I've got some money. Why not let her go? You can hold me. You are a very young man, aren't you? We are not interested in you, Richard. It's the girl we're after. I suppose she's told you, though. Told me? Of course she has. What a scoundrel you are. A renegade Englishman. What difference does it make to you whose side you're on? You're being paid. Well, we'll pay you too. Man, man, you don't understand. It matters a great deal whose side I'm on. She told you to take a message to the man in the Ministry of War if she didn't get through. No. What's his name? This is Absolute Tommy Rotten. Oh, what a porridge head. Ask your friend where she comes from. It doesn't make the slightest difference. Oh, then let me tell you. She's Romanian, Maria Oliscu. We've been after her for three years. You're the one who's working for the wrong side. Poor chap you bashed on the head is a Turkish military agent. So are the men on the train. You expect me to believe that. I don't care whether you do or not. Then, yeah. Have a look at my card, if you like. Alice Stare McLennan, Military Intelligence, British Warden. Well? It's a fraud. Why do you think we didn't have the police stop you both in general? We couldn't because this thing you've got by the tail is too big. It mustn't get out. You know what war is, Richard. Do you expect me to answer that? If your message gets through, we may have one. Very soon. Our department thinks that this girl has the word for the assassination of someone in Turkey very high up. You have that message too, haven't you? Haven't you? Tina? It's all true, Richard. Everything that he says. It's too late now, anyway. I'm sorry. But Tina, you mean, you mean that all this time. What was the message? Well, I I was supposed to contact a man named Badeez and say that the blow must fall no later than the ninth. The place will be Resulin. He did not know, Mr. McLennan. Please believe me. I told him that you were trying to prevent me from reaching Ankara. He didn't know. I'll take your word for it. But we'll have to hold him until after the ninth just to be on the safe side. I say, Mr. McLennan, you must think I'm an awful fool. No, no, laddie boy. Just awfully young. Next time you'll know better than to help a beautiful woman in distress. They took us back to Paris. And during the whole journey, Tina didn't speak a word. Just looked out of the window. I thought of my family. Of Trinity College and England. But none of them seemed particularly important now. Only she seemed important. And I wondered what would become of her. And then, as they took Tina away, she turned to me and smiled. It was a smile that I'd seen only once before. When she spoke of love of her country. But this time, she was looking at me. Escape is produced and directed by Norman MacDonald. Today we have brought you Roulette by Anthony Ellis with Terry Kilburn starred as Richard. Featured in the cast were John Daner, Alberto Morin, Georgia Alice, Lou Krugman and Edgar Barrier. Special music was arranged and played by Ivan Dittmar. Next week, escape with us to a puppet kingdom in the heart of the Belgian Congo. And a man who challenged that kingdom because of a dream. Edgar Bergen and Charlie McCarthy check in at CBS, the stars address tonight. Bringing with them their very special guest Jane Wyman. Stay tuned now for Make Believe Town, which follows immediately over most of these same stations. James Matthew speaking. This is CBS, the Columbia Broadcasting System.
