Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:03):
Tired of the everyday grind. I have a dream of
a life of romantic adventures. Who want to get away
from it all? We offer you Escape, Escape, designed to
(00:25):
free you from the four walls of today. For a
half hour of high adventure. You are stranded with a
carnival just the side of the iron curtains. We're out
(00:49):
of nowhere, a fortunate within your grass, riding.
Speaker 2 (00:53):
A number on a roulette wheel hundreds of.
Speaker 1 (00:55):
Feet high, while it's your shoulder, laughing at you room
a killer clowns from whom there is no escape. Listen
now as Escape brings you David Creek and then Morton
Fine story Carnival in Vienna. In the old days the
(01:31):
role of tenements used to be called the shutting hoofs.
And there was a war and it was called rubble.
Then it was cleaned up and it was just an
empty space in the older part of Vienna. That's where
the carnival set up fitch and wind stands, wheels, the
midway act of the high wire for a valley rides,
palm readers and the biggest Paris wheel this side of
(01:52):
the Rhine, twenty 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 hair, which is mister,
that's the way it is. And there's Lily who works
(02:15):
a gas whenever it's needed. You've got red hair. We
get along slide Wait, Hannah, is that better?
Speaker 2 (02:41):
Every time?
Speaker 3 (02:42):
Your classes shiny thing and mural? Anything to stop.
Speaker 1 (02:46):
And l looks at your hair. One of a good
boy connect ten dollars American money, maroon the sir pink
chilke canch me feel it and also here liar, what
(03:07):
are you mean?
Speaker 4 (03:09):
Liar?
Speaker 3 (03:09):
You are vain, you are powdering. You have nothing to
be proud of. You are history, you are peace. You
are I mean pea. Don't move up to another.
Speaker 1 (03:22):
Tell you what you when you were playing to hear Oh,
baby baby, one of these days back to the you'll
never go to this, say you cannot.
Speaker 3 (03:31):
I know.
Speaker 1 (03:33):
Joey tell you last night, mister Goues. I did not
want to, but you didn't.
Speaker 3 (03:40):
Ohthough I did not want to hear. Joey told you
you are fother said hold your story when you were
as the carnival, as a man who is who is?
Hand writings like Judge.
Speaker 1 (03:52):
And once the guy wrote down his name for me
to analyze, and I say the signature and forge you
for three months all over the place before they almost
caught up with me one day.
Speaker 3 (04:01):
I would have told you, didn't I didn't do anything
sounds and he told me listen. You told me how
you sled from your country to your he hasn't let you,
and how you been traveling some kind of ant cony listening.
Speaker 1 (04:16):
M h, come on, that's what listen.
Speaker 2 (04:22):
Really, I'm going to get my hands on enough.
Speaker 1 (04:26):
That's a clown. Why don't you do something about that clown?
Why should I do something about him? I like him?
Handle is by the way last, But he wouldn't frowning,
(04:48):
wouldn't flown the mechanism. Listen to listen to humble. It's
a purely mechanical. Love can drive you loose customers to
my hall of mill. Quite of the upsets here annoys
he makes, Come on, wouldn't I had come on?
Speaker 2 (05:08):
But as easy hair, I live as if you.
Speaker 1 (05:11):
Knows your name and love that shore and knows you'll
stop and bring like a peak dog and love that.
I just want to tell you something because of my advice,
change the record in that country.
Speaker 4 (05:25):
Come on, yeah, but what do you want as if
you were up on your shoes laughing shoe h hans.
Speaker 1 (05:41):
Oh, it's not bad, it's laughing. It's human. Let's forget it.
I oh, I love you, I saved you.
Speaker 5 (06:00):
I'm not kid.
Speaker 1 (06:01):
I not much. The phoneboots and the safety is a part.
What's come on you? Joey? Huh? Joey yeah, waiting good way,
(06:23):
I see him. It's all being very good and mocking.
Stop Joey want to be Let's take a look.
Speaker 2 (06:31):
They see a.
Speaker 1 (06:34):
Want about here. Joey back got a trailer?
Speaker 4 (06:41):
What for that?
Speaker 1 (06:42):
D h Julie, what's matter? Excuse send friends? Haven't we
jumped into each other in a silver bar and Buddy's
right off? Beside the fact you're unless you're a good boy,
good friends, good shield for any Connie in the world. Right,
oh right, I don't mind you took a drink and
(07:05):
spilled the lily about me. One way or another. She
had to find out, well, what's this all about? Piste
to the wallet? Just now? Huh? From a guy tourists right,
tourists huh? It was with a blonde from Maxi's. He
had a bear. Tourists the way he was dressed, green
shorts and a feather in his head. Give me the wallet, Julie.
(07:30):
I'm taking no one talks to me like that. Joey
and your coaster diad. I'm telling you bond will take the.
Speaker 5 (07:46):
Wallet, Joey. And here, Joey and tide your shirt. Sure, yeah,
let's see.
Speaker 1 (07:59):
Tourist Paul Max Boston mass card card. Where's the doe?
Speaker 5 (08:07):
Where's the doe?
Speaker 1 (08:08):
Joey, you're ready with the doe out.
Speaker 2 (08:09):
Of the.
Speaker 1 (08:15):
Wait a minute. You know what, Joey, you'll never know five.
Some friend of mine say, I'll turn up to you.
Speaker 3 (08:27):
What there, Joey will touch up to you webs whims.
Speaker 1 (08:37):
I didn't look at him anymore, not at Joey. That
John Ashcloughed Allison looking out at me from the aluminum
side of the trailer, and I'm amount of a ten
dollar tie. And he winked back at me, and his
lips shaped the words I was saying, twenty three thousand
dollars letter of credit in mister Paul Max Walllett, complete
(08:58):
with identification cards. And I looked around for a green
short a man with a feather in his hat with
a blonde from Max and the way it happened, and
I bumped into them coming out of a hall more.
I trailed them over to the ferris wheel watched mister
Max got down some change for a couple of tickets,
waiting until they get into a carriage in a wheel.
(09:21):
I started up again and I walked over to ottle
He with opera. Now adamorgan quished six wheels wheel stop time.
Hey how about you and Moley? Moley? I never got
(09:46):
to sea, although she works right over there. We only
get to wave. Then we are both off.
Speaker 2 (09:53):
Her boyfriend comes and takes through.
Speaker 1 (09:55):
Why don't you go over and talk to us? Sure,
go ahead, I'll take over.
Speaker 5 (09:59):
The whe I would Sudn't he like to see money?
Speaker 1 (10:02):
Books? Go on? Read it got bigot, There is the
other side of the river. Twenty carriages and a formanive rise.
Mister Paul Matt from bought some mads in the green
one with a blonde enjoying to keep him in the
(10:25):
carriage like get it twenty three thousand dollars up with
a trick a 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 nothing happened nine and eleven the biggest sweem
(10:57):
in the world, finding gap that we come up pick
up my half on the sands. Maybe it wouldn't work,
Maybe I needed another gimmick. Maybe i'd carriage went by
when you carried green character lad with my man named
(11:18):
all my water and the carriage dollar.
Speaker 5 (11:24):
And I closed my eyes.
Speaker 1 (11:36):
When I opened them, the wheel it stopped spinning. Carriage
at the top was green, and I knew there wasn't
a chance of that wheel coming down for a long
long time, and there wasn't my ladder that high. I
could get them down twenty three thousand dollars on a
twenty to one shot. I just hit You are listening
(12:06):
to Carnival in Vienna. To night's presentation of Escape, Edgar
Bergen fans will be doubly delighted with the new Edgar
Bergan Show with Charlie McCarthy. Remember Sunday nights on most
of these stations, the New Edgar Burghan Show with Charlie McCarthy.
And now back to Escapes and the second act of
Carnival in Vienna. Carnival and the Big Wheel not spinning
(12:49):
anymore against the Vienna sky, and for a little while
the small riot of Carnee wound down. New attraction added
to early afternoon with a Danube close and not a
kid to it, climbed the girders and hung from them
like skinny rag dolls and kicked their feet into water's face.
It was going crazy to find a fix of ferrets,
wheels and a small the tail of Russian soldier sup
(13:10):
to us tool grinning up at the merchandise display, a
black cotton stocking Bohebian petticoats and at a very very
very top oh very jump from Boston mats with his
arms wrapped around a blonde from everywhere. I tole out
how to handle It's the best way he could. I'd
round up some refugees to give my hands, and I
(13:32):
walked away from it. Down the midway, passed the gas
for past the shooting gallery, past him, past the Cloa
Pass where the carnie started a die and got to
be mudded and glitter and broken straw where the trailers
were mine brightish shiniers and the rest because there was
(13:54):
a displaced straw line. Very handy with a dust cloth,
who needed the work kahm from a job class in penmanship,
uh gentle the writing hands scroll circles and slam, and
(14:21):
then Johnny Allison into Paul mac jumped from Boston math
Paul Math. Oh, what you.
Speaker 2 (14:50):
Doing, Johnny boy?
Speaker 1 (14:53):
Period?
Speaker 2 (14:55):
What you doing? Johnny boy?
Speaker 1 (14:58):
The bottle of schnaps over the coverod Joey, drink yourself
dick huh uh no, huh huh. Maybe you don't understand
because you're fussed up and I wanted Joey.
Speaker 2 (15:11):
Oh no, that hurd hur's when you said to an
old friend. But you could buy it back my affection.
I like you, Johnny, Honey, I don't want not to
like you.
Speaker 1 (15:22):
Lush beat of the lush.
Speaker 2 (15:24):
Don't talk like that, Johnny. You made a noise like
twenty three thousand dollars when I heard you laugh. I
don't know the angle, but I won't end half.
Speaker 1 (15:35):
Johnny impedally dreamed about the boy that her picture my money?
Speaker 2 (15:40):
What was you doing when I come in? Johnny? Written
a letter? Practice and maybe get no feelings digits, just
say you can let me see Johnny take away from tomorrow.
You didn't even let me speak, but I got something
I want you to see Johnny, I brung it just
to show you.
Speaker 1 (16:01):
Oh oh, Joey, Joey, You're really are fuzzy, don't you.
Speaker 2 (16:07):
Huh. No, all this year gun does, Johnny, all it
does in the world is to make you and me, buddy.
I squeezes on it just a little bit, and all
it says you hear it, Johnny, all it says is buddy, Buddy, buddy,
like it was Mama dog. You say, half me, Johnny,
(16:29):
say half the twenty three grand I don't squeeze them all.
Speaker 1 (16:33):
Give it to me, Joey, give me the gun, and
that you can go hip the shop spinal. Give me, Joey.
You can squeeze the sheep. You just sit right down
on the floor, Johnny, so it will go off between
your eyes.
Speaker 5 (16:44):
Give me, Joey, or drop it or throw it away,
give me.
Speaker 1 (16:56):
Give me.
Speaker 2 (17:02):
Nobody slee You for a sucker, Johnny, boy, you helped
me up.
Speaker 5 (17:05):
And I don't.
Speaker 1 (17:08):
Got to be dreamer this just like this. He was
as dead as I couldn't make him. I picked him up,
carried him to my car, propped his body in the
(17:29):
front seat next to me. Whoever may have seen it
figured the only thing to figure Joey was poned again.
Here Johnny Allison was nursing him. Might he'd done a
thousand and two times. It took a few minutes to
drive out to the edge of the Russian zone. Wlong
it to a square block of rubble, behind it to
an alley. I opened a bottle with schnapps I remember
(17:50):
to bring along, rinsed out my off with it, and
poured the rest on Joey's pros. I slid the bottle
into his coat pocket, seized him out of the car,
but with in the alley, with some garbage cans scraped clean,
some bony dogs who just stared, and a known name
rush in the trailer. Might half past one I could
(18:12):
forge the signature of mister Paul Mac with the pen
between my teeth, eight letters, straight up and down, with
a couple of curls in between. I too, I was
in the Vienna State National Bank, and it'll stuck us.
Speaker 5 (18:28):
Tutto sir, what do you do for you noon?
Speaker 1 (18:31):
Your new business with me this afternoon? My hair? Yes,
my letter of credit, my identification card. I am Paul
Mac to boxt the Massachusetts of course, Well my name, let's.
Speaker 4 (18:44):
Get rid of it of course, of course, hall not
something nothing.
Speaker 1 (18:49):
Nothing but nothing. Everything is in Papua.
Speaker 5 (18:51):
The only only one thing.
Speaker 1 (18:54):
You telephone yesterday to informed thought you would not come
beyondren tomorrow morning. Oh you mean wing you telephone yesterday
it was off noon. Surely you do remember? Well, surely
I do remember mine. Here something came up to think
my plan. So I'm here now this afternoon. Did I
make a difference? So no, no, no, surely no, except
only that it gives a short note to gather the
(19:14):
money five thousand fift dollars? Was it not twenty three
thousand thousands? My here the notation I had.
Speaker 2 (19:23):
Here, I'll show you here that your telephone yesterday that.
Speaker 1 (19:29):
You would come tomorrow, that it was five thousand. Oh,
your goods, somebody made a MISTAKEE Look, I've got a deal.
I need every cent left on my letter of credits
twenty three thousand cash dollars with all American make a choice,
of course approtment from that. It gives you sign this
paper for me so that I may compare signature the
formality only I want to open, thank you, and now
(20:01):
only moments longer I must co operate with a sin.
That's a formlic Oh sure, ah wait, what really.
Speaker 5 (20:23):
Is is all that it should be in this for us?
Your money's in the.
Speaker 1 (20:27):
Path of twenty three thousand dollars, thank you money and
another thing to sign this proceeds. Oh yeah, I know,
I know. M hm, I'm sure you understand that much.
The necessity of caution. However, there's the thing if you
don't mind it, well, I'm in a hurry. What's eating you?
(20:49):
How does it feel? How does and then see you
when if you step into a bank ask for ten
of thousands of dollars and get it? M hmm good,
feel good, wonderful. It's Johnny, baby.
Speaker 4 (21:34):
Cover up?
Speaker 1 (21:37):
Where have you seen? Uh? Come here? Oh baby baby?
Speaker 4 (21:46):
An hour and I missed you?
Speaker 3 (21:50):
Kind of fools, hum hum, old you under the excitement?
Speaker 4 (21:55):
Did even stop me in a minute?
Speaker 5 (21:57):
The very start with it, screaming and screaming.
Speaker 1 (22:00):
It gets me a home.
Speaker 5 (22:01):
How is your man home? To keep from Utah?
Speaker 1 (22:05):
That's funny, Lily, we're leaving. Yeah, what do you want, Lily?
What are the greens? Paris Rome? London? Scream? Went over me? Baby,
Johnny Allison makes it come true. I grab a coat, Lily.
From this minute, it's all your limone where are you going?
(22:26):
I told you, whatever ride you want, whatever bobble to
lay against your neck, to your fingers and your toes.
Speaker 3 (22:32):
Is the money you have saved a front gate superintendent
of the Chief side pet carnival with.
Speaker 1 (22:37):
Twenty three thousand dollars? What are you talking about it?
Like I always said I would twenty three thousand dollars worth.
Now come on, cover it with a coat. Did you
get such money? Ji?
Speaker 2 (22:50):
Oh?
Speaker 1 (22:51):
What difference? It's green, It makes a pretty sound when
rubbed together. Make it whisper and advise mink for you
and soap for me. Like I saw once in a
shopping room. That's a baby. First stop room, Sir, Johnathan,
Look good, Sir Johnathan. Look swell Johnny.
Speaker 5 (23:07):
And you stole it to.
Speaker 1 (23:10):
I promoted this, babe.
Speaker 3 (23:11):
You stole it from the American who screened from the
top of the scream.
Speaker 1 (23:16):
Baby me, Johnny Allison, come on, get out. I want
no part of you me. You're talking to Lily, the
man with the promise of the man with the dreams.
Speaker 3 (23:27):
So don't call me dream man, man of nothing deep,
not Lily, not I not with you thomise man, dream
men stupid, men of angers and remix them from morting.
Speaker 1 (23:48):
The truth of anything else. You need to say, you,
Joe and let.
Speaker 3 (23:57):
Drunk, drunk with yourself, drunk is your stupidity, drunk with
your drunkenness, Joe, Joe Jo, it's done it anything?
Speaker 1 (24:09):
Who is Joe?
Speaker 3 (24:12):
Joy?
Speaker 1 (24:13):
Jo Jo? Should call me that?
Speaker 4 (24:20):
Not Joy, You shouldn't.
Speaker 1 (24:47):
I stood over it for a long time, for all
the time that we needed her. Fingers done, clenched and
trail along the floor for the life drawn over and
then get up, walk to wonder, midway, crowd in the
parish wheel moving now midway in the Palace of Fun.
I'm back, acted to the world through the Hall of Mirrors,
(25:08):
and I was on my way hansel a cloud. But
this time I didn't care. Johnny Allison on his way
with twenty three grand to take him wherever he wanted
to go. All of Mirrors, I know it like a book,
like I knew the pack up the back of my hands.
Stop turn the corner. It's not this way. Sometimes a
(25:35):
guy forgets that was fun. Fall of Mirrors. Pay had
time to get in. It's too fun trying to get out.
Whoever I went, Johnny Allison came right back at me. Thousand,
Johnny Allison me trying to feed the tenthsent goge cow seezing.
(25:58):
I didn't see myself. I wouldn't be now when I would.
I I can get along too many, too many with me.
He didn't look like anymore. It didn't look like anybody
I who.
Speaker 5 (26:14):
Yeah, like join me.
Speaker 1 (26:18):
But you wait, he said, yea.
Speaker 2 (26:39):
The actually is there on the floor. Uh to kill
like a turn to hide in the hall of Millers.
Speaker 5 (26:46):
But stupidity perhaps not.
Speaker 2 (26:51):
For here a man can laugh at death if Johnny
laughs John, and here a man can observe.
Speaker 1 (26:59):
Himself a thousand Mirsa. John from every Anger says, if
a man can stand looking at him, come come m hmm.
(27:36):
Escape has brought you Carnival in Vienna, a story written
and directed by David Freakon and Morton Fine featured in
the cast where Jack Moyles, Lillian Bias, Jack Krusian, and
Hans Conried. Also heard where Barney Phillips, Robert Boone, and
George Paroni. You're announcer George Walls. The special music for
Escape is composed and conducted by Leif Stephens. Next week,
(28:03):
you are flying a plane high above the island of Masabuera,
three hundred miles up the coast of Chile. Beside you
a beautiful woman, and only she knows. It's the last stop,
the last time around, the death step from which there
is no escape. So listen next week when Escape brings
(28:27):
you Tony Barrett story There was a Crooked Man. America
(28:53):
listens most to the CBS Radio network
Speaker 2 (29:02):
M
Tired of the everyday grind. I have a dream of
a life of romantic adventures. Who want to get away
from it all? We offer you Escape, Escape, designed to
(00:25):
free you from the four walls of today. For a
half hour of high adventure. You are stranded with a
carnival just the side of the iron curtains. We're out
(00:49):
of nowhere, a fortunate within your grass, riding.
Speaker 2 (00:53):
A number on a roulette wheel hundreds of.
Speaker 1 (00:55):
Feet high, while it's your shoulder, laughing at you room
a killer clowns from whom there is no escape. Listen
now as Escape brings you David Creek and then Morton
Fine story Carnival in Vienna. In the old days the
(01:31):
role of tenements used to be called the shutting hoofs.
And there was a war and it was called rubble.
Then it was cleaned up and it was just an
empty space in the older part of Vienna. That's where
the carnival set up fitch and wind stands, wheels, the
midway act of the high wire for a valley rides,
palm readers and the biggest Paris wheel this side of
(01:52):
the Rhine, twenty 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 hair, which is mister,
that's the way it is. And there's Lily who works
(02:15):
a gas whenever it's needed. You've got red hair. We
get along slide Wait, Hannah, is that better?
Speaker 2 (02:41):
Every time?
Speaker 3 (02:42):
Your classes shiny thing and mural? Anything to stop.
Speaker 1 (02:46):
And l looks at your hair. One of a good
boy connect ten dollars American money, maroon the sir pink
chilke canch me feel it and also here liar, what
(03:07):
are you mean?
Speaker 4 (03:09):
Liar?
Speaker 3 (03:09):
You are vain, you are powdering. You have nothing to
be proud of. You are history, you are peace. You
are I mean pea. Don't move up to another.
Speaker 1 (03:22):
Tell you what you when you were playing to hear Oh,
baby baby, one of these days back to the you'll
never go to this, say you cannot.
Speaker 3 (03:31):
I know.
Speaker 1 (03:33):
Joey tell you last night, mister Goues. I did not
want to, but you didn't.
Speaker 3 (03:40):
Ohthough I did not want to hear. Joey told you
you are fother said hold your story when you were
as the carnival, as a man who is who is?
Hand writings like Judge.
Speaker 1 (03:52):
And once the guy wrote down his name for me
to analyze, and I say the signature and forge you
for three months all over the place before they almost
caught up with me one day.
Speaker 3 (04:01):
I would have told you, didn't I didn't do anything
sounds and he told me listen. You told me how
you sled from your country to your he hasn't let you,
and how you been traveling some kind of ant cony listening.
Speaker 1 (04:16):
M h, come on, that's what listen.
Speaker 2 (04:22):
Really, I'm going to get my hands on enough.
Speaker 1 (04:26):
That's a clown. Why don't you do something about that clown?
Why should I do something about him? I like him?
Handle is by the way last, But he wouldn't frowning,
(04:48):
wouldn't flown the mechanism. Listen to listen to humble. It's
a purely mechanical. Love can drive you loose customers to
my hall of mill. Quite of the upsets here annoys
he makes, Come on, wouldn't I had come on?
Speaker 2 (05:08):
But as easy hair, I live as if you.
Speaker 1 (05:11):
Knows your name and love that shore and knows you'll
stop and bring like a peak dog and love that.
I just want to tell you something because of my advice,
change the record in that country.
Speaker 4 (05:25):
Come on, yeah, but what do you want as if
you were up on your shoes laughing shoe h hans.
Speaker 1 (05:41):
Oh, it's not bad, it's laughing. It's human. Let's forget it.
I oh, I love you, I saved you.
Speaker 5 (06:00):
I'm not kid.
Speaker 1 (06:01):
I not much. The phoneboots and the safety is a part.
What's come on you? Joey? Huh? Joey yeah, waiting good way,
(06:23):
I see him. It's all being very good and mocking.
Stop Joey want to be Let's take a look.
Speaker 2 (06:31):
They see a.
Speaker 1 (06:34):
Want about here. Joey back got a trailer?
Speaker 4 (06:41):
What for that?
Speaker 1 (06:42):
D h Julie, what's matter? Excuse send friends? Haven't we
jumped into each other in a silver bar and Buddy's
right off? Beside the fact you're unless you're a good boy,
good friends, good shield for any Connie in the world. Right,
oh right, I don't mind you took a drink and
(07:05):
spilled the lily about me. One way or another. She
had to find out, well, what's this all about? Piste
to the wallet? Just now? Huh? From a guy tourists right,
tourists huh? It was with a blonde from Maxi's. He
had a bear. Tourists the way he was dressed, green
shorts and a feather in his head. Give me the wallet, Julie.
(07:30):
I'm taking no one talks to me like that. Joey
and your coaster diad. I'm telling you bond will take the.
Speaker 5 (07:46):
Wallet, Joey. And here, Joey and tide your shirt. Sure, yeah,
let's see.
Speaker 1 (07:59):
Tourist Paul Max Boston mass card card. Where's the doe?
Speaker 5 (08:07):
Where's the doe?
Speaker 1 (08:08):
Joey, you're ready with the doe out.
Speaker 2 (08:09):
Of the.
Speaker 1 (08:15):
Wait a minute. You know what, Joey, you'll never know five.
Some friend of mine say, I'll turn up to you.
Speaker 3 (08:27):
What there, Joey will touch up to you webs whims.
Speaker 1 (08:37):
I didn't look at him anymore, not at Joey. That
John Ashcloughed Allison looking out at me from the aluminum
side of the trailer, and I'm amount of a ten
dollar tie. And he winked back at me, and his
lips shaped the words I was saying, twenty three thousand
dollars letter of credit in mister Paul Max Walllett, complete
(08:58):
with identification cards. And I looked around for a green
short a man with a feather in his hat with
a blonde from Max and the way it happened, and
I bumped into them coming out of a hall more.
I trailed them over to the ferris wheel watched mister
Max got down some change for a couple of tickets,
waiting until they get into a carriage in a wheel.
(09:21):
I started up again and I walked over to ottle
He with opera. Now adamorgan quished six wheels wheel stop time.
Hey how about you and Moley? Moley? I never got
(09:46):
to sea, although she works right over there. We only
get to wave. Then we are both off.
Speaker 2 (09:53):
Her boyfriend comes and takes through.
Speaker 1 (09:55):
Why don't you go over and talk to us? Sure,
go ahead, I'll take over.
Speaker 5 (09:59):
The whe I would Sudn't he like to see money?
Speaker 1 (10:02):
Books? Go on? Read it got bigot, There is the
other side of the river. Twenty carriages and a formanive rise.
Mister Paul Matt from bought some mads in the green
one with a blonde enjoying to keep him in the
(10:25):
carriage like get it twenty three thousand dollars up with
a trick a 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 nothing happened nine and eleven the biggest sweem
(10:57):
in the world, finding gap that we come up pick
up my half on the sands. Maybe it wouldn't work,
Maybe I needed another gimmick. Maybe i'd carriage went by
when you carried green character lad with my man named
(11:18):
all my water and the carriage dollar.
Speaker 5 (11:24):
And I closed my eyes.
Speaker 1 (11:36):
When I opened them, the wheel it stopped spinning. Carriage
at the top was green, and I knew there wasn't
a chance of that wheel coming down for a long
long time, and there wasn't my ladder that high. I
could get them down twenty three thousand dollars on a
twenty to one shot. I just hit You are listening
(12:06):
to Carnival in Vienna. To night's presentation of Escape, Edgar
Bergen fans will be doubly delighted with the new Edgar
Bergan Show with Charlie McCarthy. Remember Sunday nights on most
of these stations, the New Edgar Burghan Show with Charlie McCarthy.
And now back to Escapes and the second act of
Carnival in Vienna. Carnival and the Big Wheel not spinning
(12:49):
anymore against the Vienna sky, and for a little while
the small riot of Carnee wound down. New attraction added
to early afternoon with a Danube close and not a
kid to it, climbed the girders and hung from them
like skinny rag dolls and kicked their feet into water's face.
It was going crazy to find a fix of ferrets,
wheels and a small the tail of Russian soldier sup
(13:10):
to us tool grinning up at the merchandise display, a
black cotton stocking Bohebian petticoats and at a very very
very top oh very jump from Boston mats with his
arms wrapped around a blonde from everywhere. I tole out
how to handle It's the best way he could. I'd
round up some refugees to give my hands, and I
(13:32):
walked away from it. Down the midway, passed the gas
for past the shooting gallery, past him, past the Cloa
Pass where the carnie started a die and got to
be mudded and glitter and broken straw where the trailers
were mine brightish shiniers and the rest because there was
(13:54):
a displaced straw line. Very handy with a dust cloth,
who needed the work kahm from a job class in penmanship,
uh gentle the writing hands scroll circles and slam, and
(14:21):
then Johnny Allison into Paul mac jumped from Boston math
Paul Math. Oh, what you.
Speaker 2 (14:50):
Doing, Johnny boy?
Speaker 1 (14:53):
Period?
Speaker 2 (14:55):
What you doing? Johnny boy?
Speaker 1 (14:58):
The bottle of schnaps over the coverod Joey, drink yourself
dick huh uh no, huh huh. Maybe you don't understand
because you're fussed up and I wanted Joey.
Speaker 2 (15:11):
Oh no, that hurd hur's when you said to an
old friend. But you could buy it back my affection.
I like you, Johnny, Honey, I don't want not to
like you.
Speaker 1 (15:22):
Lush beat of the lush.
Speaker 2 (15:24):
Don't talk like that, Johnny. You made a noise like
twenty three thousand dollars when I heard you laugh. I
don't know the angle, but I won't end half.
Speaker 1 (15:35):
Johnny impedally dreamed about the boy that her picture my money?
Speaker 2 (15:40):
What was you doing when I come in? Johnny? Written
a letter? Practice and maybe get no feelings digits, just
say you can let me see Johnny take away from tomorrow.
You didn't even let me speak, but I got something
I want you to see Johnny, I brung it just
to show you.
Speaker 1 (16:01):
Oh oh, Joey, Joey, You're really are fuzzy, don't you.
Speaker 2 (16:07):
Huh. No, all this year gun does, Johnny, all it
does in the world is to make you and me, buddy.
I squeezes on it just a little bit, and all
it says you hear it, Johnny, all it says is buddy, Buddy, buddy,
like it was Mama dog. You say, half me, Johnny,
(16:29):
say half the twenty three grand I don't squeeze them all.
Speaker 1 (16:33):
Give it to me, Joey, give me the gun, and
that you can go hip the shop spinal. Give me, Joey.
You can squeeze the sheep. You just sit right down
on the floor, Johnny, so it will go off between
your eyes.
Speaker 5 (16:44):
Give me, Joey, or drop it or throw it away,
give me.
Speaker 1 (16:56):
Give me.
Speaker 2 (17:02):
Nobody slee You for a sucker, Johnny, boy, you helped
me up.
Speaker 5 (17:05):
And I don't.
Speaker 1 (17:08):
Got to be dreamer this just like this. He was
as dead as I couldn't make him. I picked him up,
carried him to my car, propped his body in the
(17:29):
front seat next to me. Whoever may have seen it
figured the only thing to figure Joey was poned again.
Here Johnny Allison was nursing him. Might he'd done a
thousand and two times. It took a few minutes to
drive out to the edge of the Russian zone. Wlong
it to a square block of rubble, behind it to
an alley. I opened a bottle with schnapps I remember
(17:50):
to bring along, rinsed out my off with it, and
poured the rest on Joey's pros. I slid the bottle
into his coat pocket, seized him out of the car,
but with in the alley, with some garbage cans scraped clean,
some bony dogs who just stared, and a known name
rush in the trailer. Might half past one I could
(18:12):
forge the signature of mister Paul Mac with the pen
between my teeth, eight letters, straight up and down, with
a couple of curls in between. I too, I was
in the Vienna State National Bank, and it'll stuck us.
Speaker 5 (18:28):
Tutto sir, what do you do for you noon?
Speaker 1 (18:31):
Your new business with me this afternoon? My hair? Yes,
my letter of credit, my identification card. I am Paul
Mac to boxt the Massachusetts of course, Well my name, let's.
Speaker 4 (18:44):
Get rid of it of course, of course, hall not
something nothing.
Speaker 1 (18:49):
Nothing but nothing. Everything is in Papua.
Speaker 5 (18:51):
The only only one thing.
Speaker 1 (18:54):
You telephone yesterday to informed thought you would not come
beyondren tomorrow morning. Oh you mean wing you telephone yesterday
it was off noon. Surely you do remember? Well, surely
I do remember mine. Here something came up to think
my plan. So I'm here now this afternoon. Did I
make a difference? So no, no, no, surely no, except
only that it gives a short note to gather the
(19:14):
money five thousand fift dollars? Was it not twenty three
thousand thousands? My here the notation I had.
Speaker 2 (19:23):
Here, I'll show you here that your telephone yesterday that.
Speaker 1 (19:29):
You would come tomorrow, that it was five thousand. Oh,
your goods, somebody made a MISTAKEE Look, I've got a deal.
I need every cent left on my letter of credits
twenty three thousand cash dollars with all American make a choice,
of course approtment from that. It gives you sign this
paper for me so that I may compare signature the
formality only I want to open, thank you, and now
(20:01):
only moments longer I must co operate with a sin.
That's a formlic Oh sure, ah wait, what really.
Speaker 5 (20:23):
Is is all that it should be in this for us?
Your money's in the.
Speaker 1 (20:27):
Path of twenty three thousand dollars, thank you money and
another thing to sign this proceeds. Oh yeah, I know,
I know. M hm, I'm sure you understand that much.
The necessity of caution. However, there's the thing if you
don't mind it, well, I'm in a hurry. What's eating you?
(20:49):
How does it feel? How does and then see you
when if you step into a bank ask for ten
of thousands of dollars and get it? M hmm good,
feel good, wonderful. It's Johnny, baby.
Speaker 4 (21:34):
Cover up?
Speaker 1 (21:37):
Where have you seen? Uh? Come here? Oh baby baby?
Speaker 4 (21:46):
An hour and I missed you?
Speaker 3 (21:50):
Kind of fools, hum hum, old you under the excitement?
Speaker 4 (21:55):
Did even stop me in a minute?
Speaker 5 (21:57):
The very start with it, screaming and screaming.
Speaker 1 (22:00):
It gets me a home.
Speaker 5 (22:01):
How is your man home? To keep from Utah?
Speaker 1 (22:05):
That's funny, Lily, we're leaving. Yeah, what do you want, Lily?
What are the greens? Paris Rome? London? Scream? Went over me? Baby,
Johnny Allison makes it come true. I grab a coat, Lily.
From this minute, it's all your limone where are you going?
(22:26):
I told you, whatever ride you want, whatever bobble to
lay against your neck, to your fingers and your toes.
Speaker 3 (22:32):
Is the money you have saved a front gate superintendent
of the Chief side pet carnival with.
Speaker 1 (22:37):
Twenty three thousand dollars? What are you talking about it?
Like I always said I would twenty three thousand dollars worth.
Now come on, cover it with a coat. Did you
get such money? Ji?
Speaker 2 (22:50):
Oh?
Speaker 1 (22:51):
What difference? It's green, It makes a pretty sound when
rubbed together. Make it whisper and advise mink for you
and soap for me. Like I saw once in a
shopping room. That's a baby. First stop room, Sir, Johnathan,
Look good, Sir Johnathan. Look swell Johnny.
Speaker 5 (23:07):
And you stole it to.
Speaker 1 (23:10):
I promoted this, babe.
Speaker 3 (23:11):
You stole it from the American who screened from the
top of the scream.
Speaker 1 (23:16):
Baby me, Johnny Allison, come on, get out. I want
no part of you me. You're talking to Lily, the
man with the promise of the man with the dreams.
Speaker 3 (23:27):
So don't call me dream man, man of nothing deep,
not Lily, not I not with you thomise man, dream
men stupid, men of angers and remix them from morting.
Speaker 1 (23:48):
The truth of anything else. You need to say, you,
Joe and let.
Speaker 3 (23:57):
Drunk, drunk with yourself, drunk is your stupidity, drunk with
your drunkenness, Joe, Joe Jo, it's done it anything?
Speaker 1 (24:09):
Who is Joe?
Speaker 3 (24:12):
Joy?
Speaker 1 (24:13):
Jo Jo? Should call me that?
Speaker 4 (24:20):
Not Joy, You shouldn't.
Speaker 1 (24:47):
I stood over it for a long time, for all
the time that we needed her. Fingers done, clenched and
trail along the floor for the life drawn over and
then get up, walk to wonder, midway, crowd in the
parish wheel moving now midway in the Palace of Fun.
I'm back, acted to the world through the Hall of Mirrors,
(25:08):
and I was on my way hansel a cloud. But
this time I didn't care. Johnny Allison on his way
with twenty three grand to take him wherever he wanted
to go. All of Mirrors, I know it like a book,
like I knew the pack up the back of my hands.
Stop turn the corner. It's not this way. Sometimes a
(25:35):
guy forgets that was fun. Fall of Mirrors. Pay had
time to get in. It's too fun trying to get out.
Whoever I went, Johnny Allison came right back at me. Thousand,
Johnny Allison me trying to feed the tenthsent goge cow seezing.
(25:58):
I didn't see myself. I wouldn't be now when I would.
I I can get along too many, too many with me.
He didn't look like anymore. It didn't look like anybody
I who.
Speaker 5 (26:14):
Yeah, like join me.
Speaker 1 (26:18):
But you wait, he said, yea.
Speaker 2 (26:39):
The actually is there on the floor. Uh to kill
like a turn to hide in the hall of Millers.
Speaker 5 (26:46):
But stupidity perhaps not.
Speaker 2 (26:51):
For here a man can laugh at death if Johnny
laughs John, and here a man can observe.
Speaker 1 (26:59):
Himself a thousand Mirsa. John from every Anger says, if
a man can stand looking at him, come come m hmm.
(27:36):
Escape has brought you Carnival in Vienna, a story written
and directed by David Freakon and Morton Fine featured in
the cast where Jack Moyles, Lillian Bias, Jack Krusian, and
Hans Conried. Also heard where Barney Phillips, Robert Boone, and
George Paroni. You're announcer George Walls. The special music for
Escape is composed and conducted by Leif Stephens. Next week,
(28:03):
you are flying a plane high above the island of Masabuera,
three hundred miles up the coast of Chile. Beside you
a beautiful woman, and only she knows. It's the last stop,
the last time around, the death step from which there
is no escape. So listen next week when Escape brings
(28:27):
you Tony Barrett story There was a Crooked Man. America
(28:53):
listens most to the CBS Radio network
Speaker 2 (29:02):
M
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