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. There's a fortune in the cabin of an airplane crashed on an island, somewhere in the Caribbean. And only you'll know where it is. By your side, sailing the treacherous channels, a smiling killer with a knife, from whom there is no escape. Listen now, as Escape brings you E. Jack Newman's story, The Coward. You. Buenas dias, senor. Ryan Aaron. Your name, please. Frank Dorian. I'm an old friend of his. What is it you wish? I wish for you to keep trying with the Inglaser, baby. You're doing fine. Un momento. Never mind the phone. I'll tell him I'm here myself. You keep enjoying the heat and checking those field reports, honey. Tienes. Frank Dorian. Dorian. Thought you were dead. I'm not. It's a nice little secretary you got there, Ed. Can she spell? Maria does fine. Come on in. How's the oil business? Okay. Lots of work as usual. How are your legs? Took 18 months in a hospital in Mexico City, but they're okay now. What do you want, Frank? You giving it to me, too? Giving you what? The look, the cold meat stuff. We don't need any pilots. Nothing open here, Frank. I'm not looking for work. I'm looking for a boat. You gave up flying, did you? For the moment, yeah. Now what's on your mind? One of those power launches out there. I'd like to rent one for about four or five days. Why? Flown over these waters a million times. I guess maybe I want to get a little closer to them. Do some fishing. Relax before I go back to the States. How about it? Those are company boats. You know I can't do anything like that. Sorry. Got 500 bucks for you. No, thanks. 750. Nope, not for a million. I didn't know whether I'd ever see you again, Frank, but I told myself if I did see you, I'd put it right on the line. You're yellow. You let four people die. You bailed out of that plane and you didn't even tell them how to get into that parachute harness. There wasn't time. But the Board of Inquiry report said there was time enough for you to get out. Maybe that's okay for the Board of Inquiry, but I say it was your job to look out for your passengers first. So I'll tell you again, you're a coward. Anything else? Too bad they didn't have to chop your legs off, Dorian, that put you closer to the size you really are. Now get out of here. Well? I thought I'd find you here. Where else you go on a hot night in a Mexican town? Even outside like this? Oh, sit down. Gracias. I feel like you're better out of the office. What's your name? Maria de Salva. Where's your home, Maria? Here. And lots of Americans around gives you a taste of what it's like in the good old USA, huh? Si. I want to go there very much, to the United States. Maybe one of those American college boy engineers working for Ryan will turn the trick for you. With their torn haircuts and the things they say with a wink of the eye, I hate them. I hate all of them. Still your best bet. Well, I had enough of this. See you in the States sometime, huh? You're going now? Nothing around here. I am around here. Hey, you are trying, aren't you? Maybe. Hey, yes, what is? You laugh at me? Nah, with you. It's warm here. Do you walk by the water? Sure, I'll walk. It's funny. What's funny? The way you came into Senor Ryan today and asked about the boat. You tell me about it later. Ryan and his lousy boats. I think about this all day. That is why I find you. I think you want a ranny boat bad, very bad. You talk like you got one. In a little way I do have one. What you got? A fishing jig? Your popper? Your brother got a little squirt of a bark that I can stand up and take to the surf? No. It is a power launch. Like those over there. Power launch? Belongs to someone I know. He buy it from one of the old company two years ago and make it over. Used it for big fishing. It's a good boat, very good. Maybe he ran it to you if I ask him. Where is it? There. Want to look? Sure. Where's your friend? He's away now. Calls us a boat, huh? It's good enough for fishing. That is why you wish a boat. Yes? You see good engines. Yeah, I have to hear them. You can't tell by looking. He go out many times in this boat. Four, five, six days at sea. Well, Maria, I'll tell you what you do. You tell your friend I'm interested in renting it for five days. Tell him I'll give him 300 bucks. He would laugh at you. He can take it or leave it. He would leave it. And I guess it's no deal. Thanks for showing me. This is the only boat around here that is not owned by the Salazar Oil Company. If you do not take this one, you take nothing. All right. Nothing. And how will you go fishing? Maybe I should say, how will you get to the island without a boat? Two months they searched for the plane and then it was decided crash into the sea. But it did not go into the sea. They still are there somewhere on one of those islands. Do you need a boat to get there? You're crazy. I know there was a payroll on that plane. Eighty thousand dollars. You got it all figured, haven't you? Suppose what you say is true and I took this boat. What then? Have. Suppose I just let it lay. Suppose I didn't hear what you just said. Suppose it means nothing. Then I go to the police and tell them what I think. You think they'd listen? If I told them how anxious you are about a boat. The police here and the insurance company and the bonding company and the oil company have asked all the questions they want. They were on me for three months while I was in the hospital with my legs in the hoist. So maybe you haven't got such a good thing at that. No. So we know where we stand there. Now what about your friend? I would pay him for my half. All right. Sunday morning six o'clock. Enough fuel and food to last for five days. This thing's in shape if your friend's OK and if I feel like it, I might take a trip. Hello. Hi. Hello. Come aboard. Come aboard. I am Rico. You are the Americano. How's your English, Rico? Good. See, very good. Where's Brown Eyes? Brown Eyes? Maria. Oh, Maria. She's in the galley. She fix food. You hungry? I could eat. Maria good cook. Fine. Fine. Hey, we have no sugar hands here, buddy. I shake, buddy. We are business. OK, buddy. See if you can shake this bag below. Oh, she's here. Glad to, buddy. Hi, Maria. Hello. Come down to see yourself? I'm going with you. OK? OK by me. As a matter of fact, it'll make it nicer. You do something to a boat, baby. You meet Rico, yes? Yeah, I met him. He's some clown. What's he always smiling about? Rico is a very good sailor. He acts like he's getting ready to go to a circus. Don't have to worry about Rico. OK. I won't. As long as you keep your hands off of him. Just stop it. Hi, boy. Rico. Well, we're all ready to go. The engine is fine. And what are we waiting for? You. Head her for Canizaba Point. Canizaba? And then what? And then I'll tell you. Buena. All right. What are you standing there for? Let's get going. OK, buddy. Frank. I am afraid. What now? Rico, he's dangerous. He'll not like the way you act to me. And the way you make him embarrassed. He'll live. But will you? He wants to get to that island, doesn't he? Si. And I'm the only one who knows where it is. That is true, but... But what? But I am thinking of the time after we have been there. I think he's feeling that, huh? Come here. What? Let's settle it now. Rico. Si. Give me a match. Huh? Fasforo, Sabrio. Match. I don't have a match. I do. Here. Light me. Light yourself. Get up. Now light me. OK, buddy. Any questions, Rico? Maria? I guess everybody understands everybody. You are listening to The Coward, tonight's presentation of Escape. French, German, Italian, Swedish. Nobody has trouble understanding the language when the language is music. Tomorrow, CBS Radio presents the classic works of the composers around the world on our world music festivals. Hear it tomorrow on most of these stations. And now back to Escape and the second act of The Coward. Rico? Si. Where are we? Canizaba. That is the point there. Never seen it from the water. It looks different. That is it. OK, let's look at that compass of yours. Uh-huh. You know what you do? I know. OK, we set here. You steer this line. Si. And keep on it. For how long is no island that way? Only the open sea. No island? You ever been that way? No. I have. What do you mean? Marie, you asleep? I'm not asleep. But what you and Rico? He laugh at you, Frank. He laugh at you all the time, even though he like the match. He laugh like he know more than you know. Can do more than you can do. Go to bed. You're shivering. I wish nothing to happen to you. I don't get it. Get it? You and Smiling Boy, when all this is over, what happens? Rico and Guy go to the United States. I thought it was something like that. So why worry about me? I... I'll tell you. Even with $40,000, you might not be able to make it. Immigration's tough, and the money wouldn't help much if they were looking for you. U.S. immigration can be awful tough on illegal entries. You got something like that in mind? I'll speak to you later. No. Right now. My arm. This trip isn't gonna last much longer. We're that close to the island? We'll be in sight tomorrow morning. Once we get that cash in our hands, Rico isn't gonna play along if I got him pegged right. Pegged? You know what I'm talking about, baby. He's probably told you how he's gonna stick that knife in me so you and him can take the whole works, right? Yeah. You two talked it over. So let me tell you this. Rico isn't gonna be able to get you into the United States. But I can. You? If you are my wife. Oh. Frank, what would happen to Rico? What do you think? By golly, buddy, you're right. What island they call this? They call them nothing. But they're the spring end of the Santa Gabriel's as near as I can figure it. Which one? Which one we go to, buddy? I'll head her in for that point of rock there. Bueno. I better check the depth. Frank. Huh? All night I think of what you say. Yeah? I am with you. Okay. What did you do with that gun? I need it. Why? Get rid of him right now. We don't need him anymore. But the boat? I can handle it. Hey, buddy, tell me it's quick. What's the matter? The wheel. Take the wheel quick. Cross the reef. The water's not deep enough. We hit the reef, we lose the boat. We have to go in this way. But lose the boat, dangerous. I just changed my mind about something. You troll from right here, Rico. You take soundings as fast as you can. I'll take the wheel. You'll take both of us, but we'll find our way through the rocks. Oh, it's no good. I need a light, Rico. Huh? Give me a light, kiddo. Okay, buddy. Now get your line out, and let's get those engines revved up. Serons. Now six. Now five and a half. Five. Senior, four. Okay. We cannot clear. We draw three feet, that gives us a foot extra. Hold on to your hat, buddy. My boat! Shut up! Oh, my God, I have to list. I hope you pick the right island, buddy. It's the right one. I hate to think I'm too all this for nothing. Look! Hey, there, the island in plain. Yeah. Just who I thought you'd be. My golly, buddy, a long time. I think maybe this is just a trick. You're not sure the plain did not burn, but you want to look. I want to look, too. Now I see. You okay, buddy? We'll be rich, eh, Maria? Si. That is what you want, Carina? Si. Well, by golly, we have it now. It's getting late. Let's hustle it up and get out of here. I don't want to spend a night on that island. Why not? Nothing to eat, nothing to drink. It's hot day and night. Rico, take her in as close as you can, and we'll wait. Okay, buddy. Frank. Yeah? Is all right? Fine. Nothing to worry about now. Nothing at all. What do you mean? You and I can bring it back through the rocks alone. We are here. Okay, let's go. I'll give you a hand over the side, Maria. Gracias. Here. Why is it the plains not find her? They didn't look in the right place. She's half buried in a loose rock. How you doing? Bueno. The plain, a mess. Where in it is the money, buddy? In the baggage compartment. Hey, go pull the door open. Why call it? She's stuck hard. I'll give you a hand. You can get it now. Yeah. Got it. It's locked. Give me your knife. Here. Eighty thousand dollars. See, it is a treasure. Yeah. Just about enough from a man who enjoys some things. Thanks for the knife, Rico. Hey, where's the money? Where's the money? You wanted my knife. Now you got it. Adios, buddy. You killed him. A little. All of it will happen to him, or two. And he has stuck you also. You bleed. Scratch only, carita. But he, my buddy, he will die. I think it nice you should stay here and watch you. You can die with him. No, Rico, no. This is what you wanted, to be with him. You have him now. No, no, no. Adios, carita. Maria. You hurt bad, Frank. You're telling me. Don't try to move. The boat. Gone. You made me stay. You say we can die together. That isn't going to help. Shut up. Shut up. You die, Frank. No. Not if I can help it. Look in the plane. Must be a first aid kit in there somewhere. Kit. Ben, just tape. Hurry up, take a look. No, Frank. Try the cab. The cab. I cannot go into the cab. The bodies are in there. The bodies from the wreckage. Go on, go on. You want to stay here and die. You want to try to get help. I look. Right, Frank. This is it? Yeah, yeah. Come on, get it open. You all right? I'm all right. Okay. Let's see what kind of surgeon you are. Better now? Yeah. The knife must have bounced off a river. I'd be dead by now. What will happen to us? We got to get some help. Make flares, signal something. Do you think anybody see? Somebody has to see. We need food. There is no food. Only sand and rock. Hey, the radio. Radio on the plane. I look. It is smashed to pieces. We die, Frank. We die here together. I suppose you could build a fire. You awake, Marie? Si. I keep dozing off. Guess I lost a lot of blood. Sleep is best now, you know, think. Maybe it's better to think. Look, I still have the gun. What? When the food problem gets tough, I mean, when it gets too bad, maybe... There's no way to go starving, I mean. All my life I tell myself, someday I go to the United States to live there. We're pretty close, like in the magazines. Drive a nice car. Live in a clean place. And I die on a dirty little island. We both die of bets and discomfort. My fault. Your fault. I got shamed of this. I didn't mean for it to end this way. Marie, I'd like to tell you something. Si. When that plane ran out of gas, I tried to tell those four workers how to get into their chutes. I tried. They didn't speak English and I didn't speak their language and I just wasn't time. I could have stayed with the plane and died then. Maybe it would have been better, but I bailed out and I saw it crash here. In the hospital, I got the idea about the money. Why you say this to me? I hate to drag you with me. You don't deserve it. I'm just a kid who wanted to go to the States. I'd have been proud to take you there. You love me? Yeah. I believe you. It is a good feeling. We truly die, but it is a good feeling. The boat! What? The boat! It is back! Rico's back! Can you walk? I can try. She will help. He did not leave us here to die. He came back. I can't believe it. Wait. What? She's stuck in the sand. She's unman. He did not come back for us? No, that boat just drifted in. Come on. What? On the railing. He couldn't get out. He couldn't get through the reef alone and the knife fight. He bled. He's dead, Marianne. And now we will live. Five? Five. Four. Four. We made it. We made it this far, baby. We're clear now. Open sea ahead. Open sea. We're safe. What happens when we get back? Me and the money? See? It goes to Ryan for the whole story. Everything? It would have to be everything. But they might put you in prison. If they did. I wait. I will wait for you. We haven't got anything to worry about, Maria. Take the wheel. Escape, produced and directed by David Friedkin and Morton Fine, has brought you The Coward, a story by E. Jack Newman. Featured in the cast were Barney Phillips, Virginia Gregg, Lou Merrill and Herb Butterfield. Your announcer, Bill Anders. The special music for Escape is composed and conducted by Leith Stevens. Next week. You are running over the fog-locked cliffs of Dover. By your side, a girl who believes you are a madman. And pursuing you, bent on destroying you. A man whose terrible secrets you've stumbled upon. And from whom there is no escape. So listen next week when Escape brings you Walter Brown Newman's story, Two and Two, Make Four. Some people like to spend their Sunday afternoons fishing. Some like to relax at home. But whatever the pastime, CBS Radio adds to a restful day with Eddie Gallaher on a Sunday afternoon. Music by Antonini and by Russ Case. Vocal melody by Stu Foster and Louise Carlisle. And pleasant chatter by Eddie Gallaher. All right here for you tomorrow on most of these stations. Stay tuned now for Night Watch, which follows immediately over most of these same stations. America listens most to the CBS Radio Network. Music by Antonini and by Russ Case.
