Speaker 1: Worried about the United Nations, anxious about those bills piling up.
Speaker 1: I want to get away from it all.
Speaker 2: CBS offers you escape.
Speaker 1: You are the victim of a native witch doctor, pursued
Speaker 1: from the west coast of Africa to the West end
Speaker 1: of London by the grinning face of a dead man.
Speaker 1: You are under the curse of a poorer man.
Speaker 2: The Columbia Broadcasting System and its affiliated stations present Escape,
Speaker 2: produced and directed by William N. Robeson, and carefully plotted
Speaker 2: to free you from the four walls of to day
Speaker 2: for a half hour of high adventure.
Speaker 1: To night, we escaped to the dark lowlands of West
Speaker 1: Africa and the mind of a man who scoffed at
Speaker 1: native magic. As H. G. Wells painted in his gripping
Speaker 1: story Pollock and the Poorer Man.
Speaker 3: I had spent considerable time in Africa, but I have
Speaker 3: given little credence to the many superstitions of the natives there,
Speaker 3: voodoo curses, weird incantations of which doctors and the like
Speaker 3: had always seemed a pretty silly business to me. But
Speaker 3: that was before the affair of Pollock and the Poorer Man.
Speaker 3: Even then, while the thing was happening, I took little notice.
Speaker 3: Twas only when I got back to England some months
Speaker 3: later and went to see Pollack climbing up the three
Speaker 3: flights of stairs to his lonely bedroom that I began
Speaker 3: to realize the ghastly truth of it. One look at
Speaker 3: him was enough. I had never before seen a man
Speaker 3: so unnaturally wasted, so prematurely aged and broken, so eerily mad,
Speaker 3: This man lying on the bed looking up at me
Speaker 3: with haggard eyes. It was. It was good of you
Speaker 3: to come water house, nonsense, old chap. I just thought
Speaker 3: i'd look you up and say hello. But I had
Speaker 3: no idea I would find you will ill?
Speaker 4: Yes, I I suppose I am ill. I suppose that's
Speaker 4: what you'd call it. What in Heaven's name is the matter, Pollock?
Speaker 4: I said, come closer, will you barely see you?
Speaker 3: Yes? Of course, I just drop a chair. No, take
Speaker 3: it away, take it away? What are you talking about?
Speaker 3: What is it? Then? Ting in your hand? Take it away?
Speaker 2: Please?
Speaker 3: If I heaven't say take it in my hand, the Pollock,
Speaker 3: this is only my hat? Why? Yes, of course, just
Speaker 3: an ordinary black homboy style is offensive to know. I
Speaker 3: just put it on the table, the floor somewhere where
Speaker 3: I can't see it. Please? Of course, old, I suppose
Speaker 3: you think I'm may I don't know you do.
Speaker 4: Everybody does, because I'm used to it now. The worst
Speaker 4: of it is perhaps I am, I say, Pollock. I
Speaker 4: mean I don't think so, because I do see it.
Speaker 4: I don't care if no one else does. I can
Speaker 4: see it. See what a head that hid des face,
Speaker 4: following me everywhere, grinning at me and always upside down?
Speaker 3: Pollock, what are you talking about?
Speaker 4: You don't believe me either? Well, look at my wrist.
Speaker 4: It's broken and the bandage is still on it. That's
Speaker 4: real enough, isn't it. Yes, of course broken? You say,
Speaker 4: yes it did, and my other accent. And when I
Speaker 4: first got back to England, they said I walked in
Speaker 4: front of a bus. But I know better it did
Speaker 4: that tool ahead exactly. You wouldn't expect to see a
Speaker 4: man's head come rolling down the middle of a busy
Speaker 4: street in London, now, would you know?
Speaker 3: Poll You'd better lie back rest a bit. I'll call
Speaker 3: a doctor.
Speaker 4: You too, And I thought you might understand, after all,
Speaker 4: you were with me when it started.
Speaker 3: It was you who first warned me, who sent me home.
Speaker 3: You don't mean that the business with a parlor man.
Speaker 3: Oh yes, yes, of course you remember how it started.
Speaker 4: We were camped at that little village on the lagoon
Speaker 4: behind the turn of Peninsula. It was swampy and hot,
Speaker 4: and I was bored to tears. Maybe that's why I
Speaker 4: did it. But anyway, when when I got back, you
Speaker 4: were furious with me.
Speaker 3: Loon. No, no, you're a fool pollock. You've got to
Speaker 3: take it back immediately, you hear, or what possible difference?
Speaker 3: Get it neck waterhouse. Why all this fuss, old boy,
Speaker 3: It's only a little wooden statue. Can't be worth anything
Speaker 3: except for curial. You're not that stupid pollock. You know
Speaker 3: very well this is a porah idol. You must have
Speaker 3: stolen it from the hut of a witch dog, don't
Speaker 3: you see? To them this is sacred, as sacred as
Speaker 3: an altar cross to a Christian. You've not only committed
Speaker 3: a crime in their eyes, but a terrible sacrilege as well.
Speaker 3: Don't tell me they're going to sit their painted gods
Speaker 3: on me. I should be frightened dead before they can
Speaker 3: do anything. You're going to take this back where you
Speaker 3: found it and apologize to the poro man, apologize to
Speaker 3: an illiterate black witch manner you create, Pollock, I've had
Speaker 3: about as much of you as I can stand. You're
Speaker 3: one of those infernal fools who think a black man
Speaker 3: isn't a human being. I can't turn my back. Which
Speaker 3: you're running crossways to them, getting your some scraper over
Speaker 3: the third time this month, and this time it's serious.
Speaker 3: Are you telling me you're going to send me home?
Speaker 3: I honestly think it would be best. As a matter
Speaker 3: of fact, I'm all for it, very happy to get
Speaker 3: out of this sticky, dirty, god forsaken place. Very well.
Speaker 3: But before you go, Pollock, for the good of the expedition,
Speaker 3: you've got to take a thing back and apologize. Oh
Speaker 3: I didn't think i'd better. Why not? Well, tell the truth.
Speaker 3: I don't think they'd give me a chance to apologize,
Speaker 3: all right, tell me what happened?
Speaker 4: Oh, nothing very much, except well, as I was carrying
Speaker 4: the thing away and when of those chaps popped up
Speaker 4: and saw it, started yelling trying to take it from me.
Speaker 3: Yes, go on, Well we had a bit of a tussle.
Speaker 3: I got away. Go on, Pollock. We uh we were
Speaker 3: on the bank of the river, and I toppled him
Speaker 3: over that song. He fell into the river. Yes, I
Speaker 3: think he may have hit the rocks first. Was he
Speaker 3: badly hurt? I don't know. I didn't stop to find
Speaker 3: out he was dead, wasn't he I really don't know,
Speaker 3: you fool. It was an accident. I had an accident
Speaker 3: a lot. They care bad enough with the idol, but
Speaker 3: you've probably killed a man. We're in for it now. Well,
Speaker 3: there's nothing to be frightened about. Nothing. In the first place,
Speaker 3: I should think even your conscience would suffer a little.
Speaker 3: The second, you don't seem to understand about this poror business.
Speaker 3: It rules the country. It's the law, religion, medicine, everything
Speaker 3: in these porror are the most vindictive men on earth.
Speaker 3: The one whose idol you've stolen, whose follower you killed,
Speaker 3: will be duty bound to do something about it, and
Speaker 3: there's no telling what he will all come. Now, you
Speaker 3: don't believe in these voodoo curses and things, of course not.
Speaker 3: I'm thinking of something much more real than that. Mean
Speaker 3: you might try something rough. I can only advise you
Speaker 3: to lie low until we can get you out of here.
Speaker 3: In the morning. I'll take you as far as Sulima
Speaker 3: and see you safer boarders. You needn't I can go
Speaker 3: alone from here, not far. You still don't understand this business.
Speaker 3: You wouldn't get a quarter of a mile from this
Speaker 3: camp alone.
Speaker 4: I still thought you were making a mountain out of
Speaker 4: the mole Hill waterhouse. But I must admit I didn't
Speaker 4: sleep much that night. I lay there on the mat
Speaker 4: in my hut.
Speaker 3: And listened to the sounds of the village and then
Speaker 3: later to the noises of the of the night wakening jungle.
Speaker 3: Some time after midnight, I must have dozed off, because
Speaker 3: I awoke with a start. For a moment I was confused,
Speaker 3: but I sensed something wrong, and then, framed against the
Speaker 3: moonlight square of the door, I saw a handle praised
Speaker 3: and in it a knife. Stop it stop Russhult, Stop
Speaker 3: you you.
Speaker 5: Hollo?
Speaker 3: What is it? What happened? I missed the begger waters?
Speaker 3: I missed who missed who?
Speaker 2: What happened?
Speaker 3: A poorer man waterhouse? He was in my hut. He
Speaker 3: had a knife. He tried to kill. Now, wait a minute,
Speaker 3: a minute, quit life, by delight. There you're right, man,
Speaker 3: I'm all right. I just saw it in time rode
Speaker 3: aside in him. Look, eh, in my bed. The knife.
Speaker 3: That was a narrow one. Well, perhaps now you understand
Speaker 3: the seriousness of this Waterhouse. I saw his face.
Speaker 4: He stopped just at the door for a second. He
Speaker 4: was crouched down, and he looked back at.
Speaker 3: Me from under his arm. His face was edged clearly
Speaker 3: in the moonlight. It it was upside down. I'll never
Speaker 3: forget it. I'll get you are listen, Waterhouse listening. He
Speaker 3: glared back at me with his painted face upside eye down,
Speaker 3: and streaked with those hideous scars they cut in their cheeks.
Speaker 3: See that in my dream? Steady on, old man, here
Speaker 3: you are drink this all right? What the idol's gone?
Speaker 3: I've just noticed the idol's gone. He took it. It's gone. Yes,
Speaker 3: Well then it's all over. He got what he wants.
Speaker 3: He well bother me again, will he? I am afraid
Speaker 3: there's more to it than that. But he's got the
Speaker 3: blasted idol back and he won't try it again. Oh, Willie,
Speaker 3: I have just noticed something, too, Pollock, there's something here
Speaker 3: on the floor. One of your shots clipped off the
Speaker 3: tip of his little finger. It's too bad you aren't
Speaker 3: a better shot. Why why do you say that? Because
Speaker 3: I'm afraid we haven't seen the loss of this business yet.
Speaker 3: You were more right than your new waterhouse. The next
Speaker 3: morning was only the beginning. We were standing with the
Speaker 3: river and supervising clocking. I'm glad we're getting out of here.
Speaker 3: Something brewing or things wouldn't be so quiet. Oh what
Speaker 3: would be brewing? A stink in the copper pot, probably
Speaker 3: dancing in a circle of skulls putting curses on you
Speaker 3: that what can he do? How the devil should I know?
Speaker 3: The first five people? We know? A lot of rum dodges.
Speaker 3: The best thing to look out work the man that's closer.
Speaker 3: What was it? One of their beastly poisoned arrows? And
Speaker 3: the tree behind you missed your head by inches came
Speaker 3: from over there in the bush. Let's let's do something.
Speaker 3: Let's chase him something no use now, never find him
Speaker 3: in there. Best thing for us to do is to
Speaker 3: get out of here quick. Well we go out, all right.
Speaker 3: You remember how we went down the river, keeping as
Speaker 3: far from the banks as possible. You thought I was
Speaker 3: safe when you got me to Salima and said goodbye.
Speaker 3: Didn't you water us? So did I? You said goodbye
Speaker 3: and went back to the interior. Nothing happened for two days,
Speaker 3: and I was beginning to feel that the whole thing
Speaker 3: was just a nasty dream. And then then as I
Speaker 3: was walking in the compound, I was hitting the arm
Speaker 3: with a slug. It was a long shot, the bullet
Speaker 3: was spent. I only got a flesh wound. But I
Speaker 3: knew or he was there, and I decided to confide
Speaker 3: in Berea, the little Portuguese who rented me a hutneys compound.
Speaker 3: He took it seriously.
Speaker 6: It is a personal question, you though. It is revenge, see,
Speaker 6: and he must turry because you will leave the county.
Speaker 3: Yes, I'll be on the boat of free Town in
Speaker 3: three more days. Then I'll be rid of him forever.
Speaker 6: Perhaps then there's this magic. Of course I don't believe
Speaker 6: in it, superstition, but still it's not nice to think
Speaker 6: that wherever you are, there's a black man spends a
Speaker 6: moonlight night, sometimes dancing around a fire to send.
Speaker 3: You bad dreams. You have any bad dreams there, keep
Speaker 3: seeing the beggar's head upside down, grinning at me, showing
Speaker 3: all his teeth the way he did not. It's nothing
Speaker 3: to be afraid of.
Speaker 6: It's not pleasant either, then, they say, potman, send snakes.
Speaker 6: You seen any snakes lately?
Speaker 4: Only one? I killed one this morning on the floor
Speaker 4: under my hammock. Almost stepped on him when I got up.
Speaker 6: Of course it is coincidence. Still I would keep eyes open.
Speaker 6: Then there is the pains in the legs and arms.
Speaker 3: I thought they were caused by miasma. Oh, probably they are.
Speaker 3: When did they begin? Why? Three nights ago? The night? Ah, oh,
Speaker 3: blast it, it's nonsense. If I could just meet the
Speaker 3: stebber face to face, put a gun in my.
Speaker 6: Hand, you might shoot him, But then he might shoot you.
Speaker 6: I think he do not want to kill you anyway,
Speaker 6: not yet. Their idea is scarce and worry a man
Speaker 6: with their spells and narrow misses and pains and bad
Speaker 6: dreams and all that until he's sick of life.
Speaker 3: Of course it's all talk. See, you must not worry
Speaker 3: about it. Oh no, no, no, no, of course nothing. But
Speaker 3: I wonder what he'll be up to next. Perhaps it
Speaker 3: is I who shall be up to something. What you mean?
Speaker 3: Never mind? But I'm not one to just sit and
Speaker 3: take this. That very afternoon I had a conversation with
Speaker 3: her rough necked men, thy tribesmen.
Speaker 4: I found there in Salima. He showed me a little
Speaker 4: iron dagger and demonstrated how one struck at the back
Speaker 4: of the neck. He agreed to do the job for
Speaker 4: the price of a double barrel gun with an ornamental lock.
Speaker 4: I went back to Pereers feeling better than I had
Speaker 4: in days. That night, the Portuguese and I was sitting
Speaker 4: in his living room playing cards, when suddenly the men
Speaker 4: die Rough strode in without so much as is it?
Speaker 3: What do you want? Oh? Won't you have done? What
Speaker 3: you tell me? Hell bru, what is it you have
Speaker 3: in the package? Is that blood dripping rue? Yeah? His head?
Speaker 3: Oh no, no, no, this man you want? No, I
Speaker 3: get gone. You didn't have to bring this. I didn't
Speaker 3: ask for such proof.
Speaker 6: You mean, Senor Pollock. You got him killed. You did
Speaker 6: not kill him yourself?
Speaker 3: Why should I? But he will not be able to
Speaker 3: take it off? Now, what do you mean take it off?
Speaker 6: Look at the cards, they are all spoilt with this blood.
Speaker 3: What do you mean take what off?
Speaker 6: You must send me a new pack from Freetown. You
Speaker 6: can't buy them there.
Speaker 3: Take what off?
Speaker 6: It is only a superstition I forgot. The natives say,
Speaker 6: if the witch he was a witch. What did is
Speaker 6: all rubbish? Go on, go on, well, they say you
Speaker 6: must take make the boro man, take the curse off,
Speaker 6: or kill him yourself.
Speaker 3: It is very silly. Gone.
Speaker 2: No, I'll make it.
Speaker 3: Two guns if you'll take that beastly thing away. No
Speaker 3: one gun? No, all right, rayah, that gun. You have
Speaker 3: to say, I'll give it to him. Have the money
Speaker 3: right here over here, take it and go.
Speaker 6: It is funny how the head sits upside down, just
Speaker 6: the way I.
Speaker 3: Saw him that night, just the way I see him
Speaker 3: in my dreams, like it.
Speaker 6: Was waited that way. You will take him with you
Speaker 6: when you go. Maybe take him now. My cards are
Speaker 6: all spoiled. There is a man sells them in Freetown.
Speaker 6: You should have killed him yourself.
Speaker 3: It stop it, stop it.
Speaker 4: I took the thing to my hut, and no matter
Speaker 4: what I did, it always came to rest, upside down
Speaker 4: and glaring at me.
Speaker 3: I got a shovel. I buried it in the soft
Speaker 3: earth behind the hut. But in the middle of the
Speaker 3: night I was awakened by some sound in my room.
Speaker 3: Oh what is it? Who's there?
Speaker 7: Speak up?
Speaker 3: I shoot? Oh a dog?
Speaker 8: Only a dog, Yes, it was only a doll. But
Speaker 8: in the morning, when I awoke and started to get
Speaker 8: out of bed, there it was in the center of
Speaker 8: the floor, glaring at me upside down.
Speaker 3: It was uncanny until I remembered the dog. I found
Speaker 3: these paw prints and the dug up earth outside, and
Speaker 3: I knew how it got there. I took the thing
Speaker 3: down to the river. I threw it as far as
Speaker 3: I could into the current. At last i'd be rid
Speaker 3: of it. That morning.
Speaker 4: I killed two snakes. But late in the afternoon the
Speaker 4: little steamer arrived. They would take me away from this
Speaker 4: insane land of the borrow and freak down and civilization.
Speaker 3: Ay. It almost begun to feel gay.
Speaker 4: As that boat carried me swiftly away from the shores
Speaker 4: of the Perora. Then at last I would be free,
Speaker 4: and soon I'd be back where borow and curses and nightmares.
Speaker 3: Would be forgotten. I was standing at the rail, sighing
Speaker 3: with relief, when the captain of the steamer, whom I'd
Speaker 3: met before I, strolled up and began to make conversation.
Speaker 3: After the usual exchange of pleasantries, he said, I picked
Speaker 3: up a ramcyrio on the beach. This go thee thing
Speaker 3: I never saw done this out of injury before. Why
Speaker 3: is that so? Eh? The aid of one of these
Speaker 3: poro chips, all ornamented with knife cuts. I see, what's
Speaker 3: the matter? Chip, agreed in the face. I wouldn't have
Speaker 3: took you for a bit sail. I'm quite all right.
Speaker 2: Eh.
Speaker 3: Well, this here I was telling you about. He's a
Speaker 3: bit queer in a way. I've got it Najoral spirits
Speaker 3: in my cabin, you know. I mean, if you don't
Speaker 3: float upside down, you're our chip. What's the matter? That
Speaker 3: was the last straw.
Speaker 4: I suppose something seemed to snap in my brain, And
Speaker 4: for the rest of the voyage I laid there in
Speaker 4: the bunk, staring at the ceiling, and I had.
Speaker 3: The strange sensation that the boat was made of glass, transparent.
Speaker 3: And then I could see up through the ceiling into
Speaker 3: the captain's cabin, see the poorer man's face floating in
Speaker 3: a jar of alcohol, upside down, grinning at me. Was
Speaker 3: the actually head is still in the captain's cabin in
Speaker 3: free Town. But it didn't matter that poorer Man's work
Speaker 3: had been done by then, because now I carried it
Speaker 3: with me everywhere in my brain. I sew it everywhere anywhere.
Speaker 3: Any object that was round, like a hat or a
Speaker 3: pillar of oars suddenly developed features when I looked at it,
Speaker 3: ugly scarred features with a grinning mocking mouth. Features turned
Speaker 3: upside down when I when I docked in London, I
Speaker 3: went straight to my banker's office in corn here.
Speaker 5: And the security is not an order, mister Pollock. You
Speaker 5: shall have to watch things, of course, but all on oiler.
Speaker 5: You shall have enough to live quite comfortably and to
Speaker 5: enjoy a reasonable amount of freedom. Then to mm, I say, Pollock,
Speaker 5: what are you staring at so fixedly.
Speaker 3: That thing hanging from your mantelpiece?
Speaker 5: Oh yes, I see the potted fern. Rather pretty one,
Speaker 5: isn't it. Oh yes, yes, yes, very I must do
Speaker 5: something about it. Though it's always dripping water down on
Speaker 5: the fender of the fireplace.
Speaker 3: Makes it rusty. I was wondering about that. It looks red,
Speaker 3: almost like like blood.
Speaker 4: Rust You enough, yes, By the way, that reminds me,
Speaker 4: can you recommend the physician for mental troubles? I've got
Speaker 4: a little uh what do you call it, eh, hallucination?
Speaker 4: The poorer man grinned at me fiendously, and I stared
Speaker 4: back at him. The banker watched me very crueously for
Speaker 4: a moment, and then he gave me the dress.
Speaker 3: Of a doctrine. I left his office.
Speaker 4: That's when my accident happened. To a man who's been
Speaker 4: many months in the jungle of busy London streets, confusing enough,
Speaker 4: but when a head comes rolling down the middle of
Speaker 4: the street and between your legs.
Speaker 3: No wood no. I was in the hospital for weeks.
Speaker 3: The only permanent injury, however, was the loss of the
Speaker 3: tip of my little finger, my strange coincidence, the same
Speaker 3: fingertip of the left hand that i'd shot off the
Speaker 3: borer man that first night. Even in the hospital, the
Speaker 3: poorer man was with me all the time. Everywhere. The
Speaker 3: doctors couldn't help me. My friends couldn't either. So I
Speaker 3: tried cycling in the country, but that thing kept rolling
Speaker 3: along beside me and getting tangled up in the wheels
Speaker 3: and spilling me. That's how I've got the broken wrist.
Speaker 3: It well. The the worst came only last week. I'd
Speaker 3: just come back from a long walk, hoping to be
Speaker 3: tired enough to go to sleep as usual. That bronze
Speaker 3: vase was over there in front of the big French window,
Speaker 3: and it.
Speaker 4: Well, perhaps the poor man enjoys the view of the
Speaker 4: street three floors below.
Speaker 3: Anyway, this night I felt a little devil make care.
Speaker 3: So I turned round towards and I looked him in
Speaker 3: the eye, and I said, so you're still here, are you,
Speaker 3: my ugly shadow? Yes, power, I am still here? What what? Who?
Speaker 3: What did you say? I said, I am still here,
Speaker 3: and I all ways will be.
Speaker 8: No no, no, not that too, not that no no no.
Speaker 3: So now you understand I not only see the poorer man,
Speaker 3: I hear him too, polla culture. This is frightful. It
Speaker 3: is rather, is it? I mean you are ill, man,
Speaker 3: very ill. Now, surely there's something someone can do. Some doctor,
Speaker 3: can any doctor do? Can he take off the poor
Speaker 3: man's pollock? That's nonsense? And you know it is it?
Speaker 3: Of course, man, it's all in your mind or what
Speaker 3: do they call it? To suggestion? The power of suggestion
Speaker 3: is strong. You're impressionable. You let these stories prey on
Speaker 3: your mind, and you've got to snap out all I
Speaker 3: should have killed him myself. I'd do it too, with
Speaker 3: my bare hands, if only I had the child. And
Speaker 3: you're talking rot. Look at him there, look at him
Speaker 3: grinning at me like that's only a bronze vase, always
Speaker 3: grinning at me, more and more famously every day. Stop it,
Speaker 3: Stop it you devin't stop it yourself? Lie back rest red, Yes, yes,
Speaker 3: since that's what I mean. If I'd only known, I'd
Speaker 3: never have left you there in sulima load, all this
Speaker 3: might have been prevented.
Speaker 4: Might it Listen what I asked? When you came in,
Speaker 4: I was just lying here thinking I see him, I
Speaker 4: hear him. My sense of sight and the hearings effected,
Speaker 4: and some day my sense of touch will go too.
Speaker 3: When it does, I know that will be the end.
Speaker 3: I'll be finished, and.
Speaker 4: The poorer man will finally have his revenge, won't he, Pollock,
Speaker 4: old man? When you came in, I was lying here,
Speaker 4: trying to get up the nerve to walk over there
Speaker 4: and make the test.
Speaker 3: And I'm going to do it. No, No, I won't
Speaker 3: let you. You can't stop me, Waterhouse, Don't you see
Speaker 3: I've got to I can't go on like this. I've
Speaker 3: got to know. Have it over, whiled Pollocks beyond anything
Speaker 3: you can do. Stand aside, but stand aside, please, no,
Speaker 3: come back to bed. That window is open. If you haven't.
Speaker 4: Never mind, this is just an ordinary bronze vase, isn't it, Waterhouse,
Speaker 4: don't do it. I know it's only a bronze vase.
Speaker 4: I know that when I I will feel only cold
Speaker 4: metal when I reach out and touch it.
Speaker 3: I know like this, Oh, hold out that window.
Speaker 7: You're backing into that window.
Speaker 2: Escape is produced and directed by William N. Robeson and
Speaker 2: Tonight brought you Pollock and the Poorer Man by H. G. Wells,
Speaker 2: Adapted for radio by John Duncle, with Barton Yarborough as Pollock,
Speaker 2: Louis van Ruten as Waterhouse, and Bill Conrad as Berea.
Speaker 2: The special musical score was conceived and conducted by Cypurer.
Speaker 1: Next Week, you are groping through the darkened corridors of
Speaker 1: a gigantic department store in the dead of night, and
Speaker 1: suddenly you realize you're not alone, and a hundred eyes
Speaker 1: are glaring at you from the shadows, a hundred hands
Speaker 1: reaching for your throat.
Speaker 2: Next week Escape with John Collier's eerie story Evening Primrose,
Speaker 2: Good Night. Then until this same time next week, when
Speaker 2: CBS again offers you Escape. This is CBS, the Columbia
Speaker 2: Broadcasting System