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Speaker 1: Our mystery drama that says our Curse was especially adapted

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from the Robert Lewis Stephenson classic for the mystery theater

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by Murray Burnett and stars Richard Kylie. It is sponsored

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in part by Uncle Ben's Long Grain and Wild Rice

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and Anheuser Busch Incorporated brewers of Budweiser. I'll be back

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shortly with Act one. We all know that there is

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no such thing as a curse transmitted from one generation

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to the next, which calls down evil upon all the

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descendants of the cursed family. Science, of course, tells us

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that such diseases as diabetes, amophilia, and madness can be

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handed down in a family, but science frowns upon anything

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of the extraordinary or bizarre. In this instance, I must

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respectfully take issue with the scientists, and as a case

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in point, bring you the story of George Capewell, whom

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we first meet at the age of sixty seven as

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he adds a corticil to his last will and testament.

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Speaker 2: Today, my family physician told me that death was no

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more than a week or two away. Wherefore I feel

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compelled to explain why I George Capell will be the

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last of the Capewells. This was my choice, and this

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codicilier my will will explain why I made it. For

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the sake of clarity, I must go back some forty

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years to one summer when I fell seriously ill but

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almost died while vacationing in Spain.

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Speaker 3: Did one you are looking almost arrive again, and I

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don't mind saying it is a small miracle sponsored by you,

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doctor Balis Haw.

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Speaker 2: Let's give God a little credit too.

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Speaker 3: And now to complete the cure, I insist that you

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have a few weeks of absolute rest and good fresher.

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Speaker 2: If you're talking about one of those sanatoriums, forget.

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Speaker 3: The place I have in mind is as completely unlike

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a sanatorium as you can imagine. It is a residencia,

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the estate of a very old and proud family who

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have fallen upon half times and are willing to take

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an American as a paying guest, with one proviso, which

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is that you remain a stranger. You are not permitted

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the smallest intimacy.

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Speaker 2: And so it came about that I found myself in

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an ancient, dilapidated horse drawn carriage driven by a young

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man who's whose appearance excited both attraction and repulsion. Live

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and well built, with large brilliant yellow eyes go to

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aquiden features. He was also so extremely hairy that want

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instinctively to be back from Do we have much further

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to travel? Really bit over.

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Speaker 4: Two bridges and past the tow of the mountains.

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Speaker 2: Hash they don't know. There's no need to quit the

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horse and in a hurry. Sometimes he grows lazy. Besides,

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there is the bad place. We come to it shortly,

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bad place on this road. Oh, yes, are the first bridge.

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Speaker 4: You can begin to hear it, the bridges under a

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pair No, not saying you are the bridge is seeing

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the wires is a bad place because.

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Speaker 2: It makes me afraid. What is there to be afraid of?

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Speaker 3: The noise? Saying you are the noise.

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Speaker 2: There? It is better now, it's such a noise, won't

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hurt you, Philippe. It's it's just the sound of the water.

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Speaker 4: So my sister tells me, Senor. But still I am afraid.

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Speaker 2: With that answer, I realized that there was a child's

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mind in that body, and from that time on I

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regarded Philippe with indulgence and even a sort of liking,

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as I listened to his innocent prattling until we drew

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up before a great arch, molish way secured my iron

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studied gates. We arrive, Senor, we are home. You can

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descend from the carriage.

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Speaker 5: Now please.

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Speaker 2: Through these gates in your please. This is the courtyard, Senor.

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It is very beautiful by day.

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Speaker 4: And now, Senor, if you please up these stairs carefully?

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Speaker 2: Oh, thank youfully pay. I don't suppose we could have

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more light.

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Speaker 4: Alas, Senor, we have no electric, only the candles.

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Speaker 2: We are here, Senor. Your room pleasant, how really pleasant?

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And a table laid for supper.

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Speaker 4: That's very thoughtful, Yes, Senor, it is a fine room,

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a very fine room in daylight.

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Speaker 2: What can I see from these windows?

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Speaker 4: The courtyard, Senor, and some of the countryside. It is

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very fine. And the fireplace too. The fire is good.

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Speaker 2: It melts out the pleasure from your bones. I suppose

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that's one way of putting it. Those those animal skins

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on the wall, they come from it. Do not know

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they have been here always. But look at the bed.

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Speaker 4: See the fine sheets, how soft and smooth, smooth.

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Speaker 2: You're careful with that candle, you'll you'll set the place

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on fire. Here, let me have it so smooth, so smooth,

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This looks like a fine wine you have here on

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the table, it'd say from a nearby vineyard. Will you

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joined me in the glass? No? No, no, not that

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that is for you. I hate it very well. But then, Felipe,

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I would like to make this first glass of wine

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in this residency a toast to your hospitality and to

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your mother, the Senora Glassy signor, which reminds me, when

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shall I have the pleasure of conveying my respects and

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thanks to your mother? Never? No, never, good night sor

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even now, as I write this document, with the cold

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hand of death coming ever closer to me, I can

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still feel the warmth of that fire. You'll see the

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portrait of the woman on the wall, illuminated by the

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flickering flames. For ten days I gained in strength, saw

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no one but Philippe, and for ten nights fell asleep

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with the face of that portrait looking down on me,

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a face of a magnificently beautiful woman, yet marred by

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a cruel, sullen and sensual expression. I was struck by

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the strong resemblance to Philippe, and one morning, as he

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served me my breakfast, a portrait on the wall an

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ancestor signor more coffee, No, no, thank you. Who is

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that crossing the courtyard? De babe? He comes to hear

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your sister's confession. Yes, he's been doing that for some time,

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for many years, many years. Well, then he would know

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who the woman in the portrait is. I could ask

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you and not to ask questions.

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Speaker 3: You are not.

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Speaker 2: I have been bored. But who told you your mother?

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The senora? You will be punished, you are see.

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Speaker 4: You will be punished, and it will not be because

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of me or anything I have done.

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Speaker 2: It will not be my fault. And now my pen hesitates,

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even to day, forty years later, I feel ashamed. I

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justified my action by telling myself that I was entitled

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to pierce the veil of mystery that surrounded this strange household.

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But I refused to admit was the spell the woman

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in the portrait had cast upon me. Day after day,

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the double knowledge of her wickedness and my weakness grew clearer.

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So shamefully I confess, I set out to find Filippe

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to continue questioning that childlike mind. I knew I would

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find him in the woods. That I did not, I'd

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be horrified by my discovery.

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Speaker 4: Let that squirrel go there you go, I said, yay, Singor,

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I am sorry.

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Speaker 2: Sorry. What kind of person are you? A little while

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ago you pretended to be upset because I didn't like

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your coffee, and now I find you torturing a poor

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dumb animal. You're the one who deserves to be tortured.

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I'm going to tell your mother I don't want to

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see you again. You're not to serve me.

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Speaker 6: You understand, Perlice saying youre please. I'd go upon my

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knees to you forgive him. Bear with me, saying or,

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I try so hard. Forgive me please.

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Speaker 2: Only if you promise never to do anything like this again.

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Speaker 4: I promise, Sor, I promise.

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Speaker 2: Thank you, Singor, I promise. I swearthy your taypey hall,

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they come back, come back here. I want to talk

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to you. But no amount of calling brought him back.

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I returned to the house, and as I walked slowly

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across the courtyard, I first saw my hostess. She was

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seated on an animal skin, leaning against a pillar, sunning herself.

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She was an elegant, sumptuous figure, and although she must

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have heard my footsteps, she seemed unconscious of my presence.

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Good days, and you're a sizard. May I join you

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if you wish you? You know who I am a gift.

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I should have presented myself to you before, but your

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son told me you are unavailable.

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Speaker 7: He may see here if you stay out of my son.

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You like the sun, It warms me, and I like.

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Speaker 2: Warm I I really wanted to talk to you about

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the woman in the portrait in my room, poetrait is

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the painting? Surely you know it? Felipe told me she

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was one of the family. She fascinates me.

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Speaker 5: Who was she? I seen? She was my mother?

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Speaker 2: You think, don't you know who? I beg your pardon?

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You look so much like the woman and the portraiture,

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your mother, I think you said I. I really would

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like to know something about her.

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Speaker 5: Son is going behind the clouds.

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Speaker 7: I am afraid the black wind is coming and we

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shall all suffer from it.

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Speaker 5: I must beat your juice.

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Speaker 2: And she was gone, silently, gracefully. She was right about

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the wind. It came from the malarial lowlands and over

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the sierras. It stormed about the house with a hollow

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buzzing that was wearisome to the ear, depressing to the mind,

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and jangle the nerves. By the time Philippe brought my supper.

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I was in a state of nervous exhaustion. Philippe also

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was in a state of nerves, his yellow eyes burning

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in his face like two candles, his hands shaking so

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that the silver clattered against the breets. For Heaven's sake,

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stop that noise, SI saying it's the black wind.

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Speaker 4: It palls and palls at You're telling you you must

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do something, but you don't know what it is you

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must do.

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Speaker 2: Your mother she seemed to be unhappy with the wind too.

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I think she's ill, oh.

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Speaker 5: Senor with this wind?

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Speaker 6: Who can be well?

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Speaker 2: Now? I must write of that black wind and blacker night.

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I went to bed early, I couldn't sleep. Suddenly sunfilled

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the house. I thought of Filippe and the squirrel. I

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ran to the door or, only to find that it

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was locked from the outside. It resisted all my efforts

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to ogritten. I sank to the floor, my hands pressed

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over my ears, trying to blot out those inhuman ravings.

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It was useless. The last thing I've heard for losing

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consciousness was those ravings through hell.

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Speaker 1: There are those among us who feel that some mysteries

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are best left unsolved, Some secrets never should be told,

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because George Capewell was not one who believed this. We

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can continue in a moment with that too, but I

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warn you the discovery may well send a shuddering chill

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through your bones. On everyone within the range of my

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voice has experienced some evidence of love's blindness. The doting

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male sees his beloved as perfection, whereas the young girl

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may see his faults but is certain that all that's

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needed to correct them is the gift of her love.

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George Capewell was destined to fall in love profoundly, electrifyingly,

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overwhelmingly for the first and last time in his life,

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only to find that this all consuming passion was to

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lead him to the very brink of hell.

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Speaker 2: I must continue with this writing so you will know

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why I leave this earth with no child to carry

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on the name of Capewell, even though the writing brings

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back all the anger terror of those days more than

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forty years ago. When I awoke on the floor the

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morning after the terrible night of the Black Wind, the

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sun was shining. The cheerful Philippe appeared with my breakfast.

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Speaker 4: Good morning signor is it not a beautiful day?

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Speaker 2: It's beautiful and quiet. There will be enough coffee for

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the moment. Yes, Senor. What were those dreadful cries I

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heard last night the wayne, Signor. You know that's not true,

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and I mean to have the truth. Was it some

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animal you were torturing?

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Speaker 4: Not, Senor, I swear it was na I promised your Signor,

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and Philippe keeps his promise.

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Speaker 2: Give me your hand, fe Lippe. Yes, Singer, this is

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the hand the torture that poor squirrel. But Signor, I

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swore to you. No used to struggle, Philippe. I'm stronger

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than you are. Unless I'm mistaken. This is the hand

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that locked my door last night. Signor, Please go of

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my stranger, Philippe. But I'm also a guest and I

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will not be locked in my room like a criminal.

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Now you understand here, Senor, Yes, thank you, I understand Now.

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How is it I never see your sister? Does she

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have some reason for avoiding me? My sister is a

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good girl. It is she that keeps me up, Senor.

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Without her, I would be lost, Signor. And no doubt

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she has reproved you for your sin of cruelty twelve times.

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And when I told her what you had done in

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the woods. She was pleased. Yes, she was happy. Then

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who or what was unhappy enough to make those sounds

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in the night.

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Speaker 4: I have told you signor the wind, the black queen.

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Speaker 2: You know I'm stronger than you, appily pain, Please singer,

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Let me go and I will get the truth if

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I have to shake it or beat it out of you.

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Speaker 6: Please singor.

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Speaker 2: Yes? Who is it?

247
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Speaker 3: I amwer?

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00:16:57,360 --> 00:16:57,919
Speaker 2: Yes, come in.

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Speaker 3: I was passing in the courtyard. I thought I had

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a cry.

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Speaker 2: It was hypadre. I burn my hand with the coffee.

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Speaker 3: Ah, so Phi, then I would be good.

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Speaker 2: No, no, no, father, don't don't go. I'd like to

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speak to you, jes my son. If the Senor doesn't

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need me, you can go for lip. I should introduce myself.

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Speaker 3: Father, I'm George Cape Wales, he guessed here at the residencia.

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Speaker 2: Yes, and well, you see before you a very puzzled

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and disturbed man. Is there some way I can help?

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I hope? So, Father, do you know the woman in

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this portrait on the wall? Ah?

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Speaker 3: Yes, that is the likeness of marlasses Ah.

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Speaker 2: Well, I was hoping that you could tell me something

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about her.

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Speaker 3: She was the great grandmother of the pleasant daughter of

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the house who is named after. But why are you

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concerned with the painting.

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Speaker 2: Well because of the beauty of the woman, because of

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the resemblance of the present, Senora says, are to this woman.

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And well because father, the woman in the portrait has

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cast a dark shadow on my mind.

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Speaker 3: I know that you came here to regain your health

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after resevere illness. Perhaps there are still some traces of

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fever of that linger.

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Speaker 2: I know now, fever in the world could make me

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hear the cries I heard last night, Father, They sounded

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like like the bestial screams of a soul in hell.

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And you think they came from the portrait, the whole

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atmosphere of this residency here, it's strange. I've never seen

279
00:18:48,799 --> 00:18:49,799
the daughter of the house, and.

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Speaker 3: That is how it should be. If you would forgive me,

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I should be with her now. I don't like to

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keep her waiting.

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Speaker 2: You're telling me to close my eyes and ears to

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everything that goes on and not interfere.

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Speaker 3: I am only reminding you that you are a guest,

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and you should remain a guest. Nothing more.

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Speaker 2: Sleep came to me early, and dreams filled the night.

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I tossed and turned as the dreams became more and

289
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more vivid, and then I remember waking to see that

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somehow the beautiful face had left its frame and was

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bending over me. Only the face was younger than in

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the portrait, and softer, with great eyes that looked deep

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into mine. I tossed off the bedclothes and struck a

294
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match to light a candle. Where are you come back? Please?

295
00:19:52,599 --> 00:19:55,960
I I know you are here, Come back. I won't

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harm you. There was only silence, the cruel eyes of

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the portrait looking down at me. I sat up the

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rest of the night, and it was the next day

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when I came face to face that marluss Is are As.

300
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She stood in her doorway after saying farewell to Father Ramond.

301
00:20:18,839 --> 00:20:22,960
Once again, I looked into those marvelous eyes, and then

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she turned quickly and closed the door. I rapped sharply. Senorita, Senorita,

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00:20:30,359 --> 00:20:31,119
please open.

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00:20:30,920 --> 00:20:36,119
Speaker 5: The door, senor It is useless.

305
00:20:36,240 --> 00:20:37,079
Speaker 2: What is useless?

306
00:20:37,319 --> 00:20:40,799
Speaker 5: That we should talk? We must, we cannot cannot.

307
00:20:40,839 --> 00:20:41,680
Speaker 2: What will stop us?

308
00:20:41,799 --> 00:20:45,680
Speaker 5: I will? I know that what you're thinking is impossible.

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00:20:46,200 --> 00:20:49,720
Speaker 2: Then you know what I'm thinking, of course, and you

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will turn your back on me and my love.

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Speaker 5: I have no choice.

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00:20:53,559 --> 00:20:55,759
Speaker 2: Nonsense, everyone is a choice except me.

313
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Speaker 5: Why do you say that I know, believe me, I

314
00:21:00,440 --> 00:21:01,000
know all right?

315
00:21:01,079 --> 00:21:05,160
Speaker 8: Tell me why, please, Senor, it is not permitted to

316
00:21:05,240 --> 00:21:05,599
love me.

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00:21:05,880 --> 00:21:06,880
Speaker 2: Who will not permit it?

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Speaker 8: I will not.

319
00:21:08,440 --> 00:21:10,119
Speaker 2: Well, Then again I ask you why.

320
00:21:10,000 --> 00:21:12,480
Speaker 5: If you really loved me, you would not ask me.

321
00:21:12,759 --> 00:21:14,440
Speaker 2: If you really loved me, you'd tell me.

322
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Speaker 5: I did not say I loved you.

323
00:21:16,440 --> 00:21:19,640
Speaker 2: But your eyes speak for themselves. You knew we love

324
00:21:19,680 --> 00:21:21,599
from the moment our eyes first met. Are you not

325
00:21:21,759 --> 00:21:23,640
ashamed of my love for you?

326
00:21:23,680 --> 00:21:23,759
Speaker 3: No?

327
00:21:23,960 --> 00:21:26,519
Speaker 8: Never of breaking the rules under which you came to

328
00:21:26,559 --> 00:21:29,640
be a guest in this house, of using your worldly

329
00:21:29,680 --> 00:21:32,480
wisdom to make me betray myself and my family.

330
00:21:33,119 --> 00:21:34,880
Speaker 5: Ah, these not shameful, Signor.

331
00:21:35,119 --> 00:21:37,000
Speaker 2: I only know that I love you, and you love me.

332
00:21:37,519 --> 00:21:39,720
And between two people who love there must be trust.

333
00:21:39,880 --> 00:21:42,960
Speaker 8: And between us, Signor, I tell you there can be

334
00:21:43,079 --> 00:21:45,319
nothing but a closed door.

335
00:21:50,440 --> 00:21:53,640
Speaker 2: As I look at the pages I've already written, I

336
00:21:53,640 --> 00:21:57,200
feel now as I felt then be urged to stop,

337
00:21:58,319 --> 00:22:02,359
to seek no more answers. In my heart, I knew

338
00:22:02,359 --> 00:22:05,240
that the beautiful creature I loved had a strange mother

339
00:22:05,799 --> 00:22:09,400
and a pitiful brother. My heart told me that she

340
00:22:09,480 --> 00:22:12,960
was a child of an afflicted house. But all that

341
00:22:13,079 --> 00:22:17,079
mattered was that I should make her mind. For two

342
00:22:17,160 --> 00:22:19,880
days I walked in the woods with her image ever

343
00:22:20,000 --> 00:22:25,839
before my eyes, but she didn't appear. Then on the

344
00:22:25,920 --> 00:22:29,839
third day, Martha, my beloved, you came to me.

345
00:22:30,000 --> 00:22:33,519
Speaker 8: Yes, I came to you, and I shouldn't. And I

346
00:22:33,559 --> 00:22:37,359
hate myself for it. I hate myself for my weakness.

347
00:22:37,359 --> 00:22:39,920
Speaker 2: Love isn't a weakness for me. It is and it

348
00:22:39,960 --> 00:22:42,640
gives me strength, strength to ask you to marry me

349
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and to come away with me as my wife.

350
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Speaker 5: You don't know what you're saying.

351
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Speaker 2: I'm saying, marry me and come away from this place.

352
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Come to my country and my house, and let me

353
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show you how much I love you, and how much

354
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I can give to you. I can't, Martha, we were

355
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drawn together by the miracle of love. It would be

356
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a sind No, oh, this miracle, this is madness. Good Bye, Palla,

357
00:23:03,559 --> 00:23:06,079
come back. I won't let you go.

358
00:23:06,880 --> 00:23:10,400
Speaker 5: You must never Please, don't touch me.

359
00:23:10,559 --> 00:23:13,279
Speaker 2: Don't be afraid. Once my arms are around you and

360
00:23:13,279 --> 00:23:15,359
our lips have met, you'll see that I'm right. You

361
00:23:15,519 --> 00:23:16,599
know that we belong together.

362
00:23:16,759 --> 00:23:23,640
Speaker 8: Oh oh, no, no, no, Marla.

363
00:23:25,240 --> 00:23:27,559
Speaker 2: Well, sweetly, the name sounds on my lips.

364
00:23:28,319 --> 00:23:29,039
Speaker 8: You do love me.

365
00:23:29,720 --> 00:23:30,599
Speaker 2: Admit it, darling.

366
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Speaker 5: You will go away today, you will leave the.

367
00:23:35,279 --> 00:23:39,359
Speaker 8: Residencia, and you must never return.

368
00:23:44,119 --> 00:23:47,799
Speaker 1: Fatalists believe that the threads of our lives are woven

369
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for us long before we embark on life's journey, and

370
00:23:51,559 --> 00:23:54,559
that it's useless to struggle against our destinies.

371
00:23:55,319 --> 00:23:57,119
Speaker 2: But for centuries, the stuff.

372
00:23:56,839 --> 00:23:59,640
Speaker 1: Of drama has been fashioned from a man's refusal to

373
00:23:59,680 --> 00:24:03,720
accep the inevitable, to fight on no matter what the odds.

374
00:24:04,480 --> 00:24:08,240
George Capewell chose to fight, and we'll be back with

375
00:24:08,319 --> 00:24:13,160
the terrifying results of that decision in a few moments.

376
00:24:24,880 --> 00:24:28,400
To find love only to lose it is an age

377
00:24:28,480 --> 00:24:32,559
old story, but usually the rejected lover knows in his

378
00:24:32,720 --> 00:24:37,240
heart why he's been rejected. George Capele sense that Marla

379
00:24:37,279 --> 00:24:40,480
Cesar had refused to marry him out of a nameless

380
00:24:40,559 --> 00:24:44,240
but genuine fear, a fear which he himself felt hung

381
00:24:44,319 --> 00:24:49,039
heavily over the Cesar household. George Capele was convinced that

382
00:24:49,079 --> 00:24:51,880
if he only could discover the cause of this fear,

383
00:24:52,279 --> 00:24:54,960
he could dispel it and he and Marla would live

384
00:24:55,039 --> 00:24:56,200
happily ever after.

385
00:25:02,000 --> 00:25:05,000
Speaker 2: As my life in this last Will and Testament draw

386
00:25:05,079 --> 00:25:08,839
near to a close, it becomes ever more difficult for

387
00:25:08,920 --> 00:25:12,839
me to find words adequate to describe the anguish and

388
00:25:13,039 --> 00:25:17,319
terror I felt more than forty years ago, and the

389
00:25:17,400 --> 00:25:22,880
remote and fear ridden, says our Residentsia. I remember crossing

390
00:25:22,960 --> 00:25:26,039
the courtyard and my way to my room, trying to

391
00:25:26,160 --> 00:25:30,279
damn the raging torrent of my thoughts, and seeing the

392
00:25:30,319 --> 00:25:35,200
sensuous figure of Signora ces are dozing contentedly in a

393
00:25:35,279 --> 00:25:42,880
favorite spot in the sun. Senora, Senora, I'm I'm sorry

394
00:25:42,920 --> 00:25:47,160
to disturb you, but I must talk with you. Most toy.

395
00:25:48,359 --> 00:25:50,160
Your daughter has asked me to leave your house.

396
00:25:50,519 --> 00:25:51,559
Speaker 5: Why do you come to me?

397
00:25:52,440 --> 00:25:55,200
Speaker 2: I want to know if if you want me to go. Also,

398
00:25:55,680 --> 00:25:58,039
you have done nothing to annoy me.

399
00:25:58,720 --> 00:25:59,920
Speaker 5: What did you do to annoy it?

400
00:26:01,039 --> 00:26:02,559
Speaker 2: I fell in love with her and asked her to

401
00:26:02,559 --> 00:26:02,960
marry me.

402
00:26:03,680 --> 00:26:08,319
Speaker 7: Mane a very pretty girl, very pretty.

403
00:26:09,640 --> 00:26:12,240
Speaker 2: I know she loves me, and yet she asked me

404
00:26:12,319 --> 00:26:15,440
to leave. She she has some reason for wanting me

405
00:26:15,480 --> 00:26:18,720
to go away. And well, it occurred to me that

406
00:26:19,519 --> 00:26:21,160
maybe the reason concerns you.

407
00:26:21,680 --> 00:26:24,720
Speaker 7: I took care of Marlowe when she needed me.

408
00:26:25,519 --> 00:26:26,880
Speaker 2: Now she is a grown woman.

409
00:26:27,640 --> 00:26:29,200
Speaker 5: She can do as she pleases.

410
00:26:30,160 --> 00:26:32,559
Speaker 2: What was it that made those hellish sounds the other

411
00:26:32,640 --> 00:26:39,359
night sounds? What sounds? Surely you must remember it. It

412
00:26:39,480 --> 00:26:42,000
was the night of the black wind, and the cries

413
00:26:42,079 --> 00:26:44,039
and the screams of pain came from the throat of

414
00:26:44,039 --> 00:26:47,720
some animal or some human that was undergoing torment. They

415
00:26:48,599 --> 00:26:49,160
shocked the hall.

416
00:26:49,319 --> 00:26:53,480
Speaker 7: I heard nothing, but then I sleep very soundly.

417
00:26:59,359 --> 00:27:02,799
Speaker 2: She was lying, of course. I reached my room in

418
00:27:02,839 --> 00:27:07,079
a black rage and found a note in Marla's handwriting.

419
00:27:08,279 --> 00:27:11,440
I took it to the window to read the words

420
00:27:11,440 --> 00:27:15,480
are see it into my brain. It read, if you

421
00:27:15,599 --> 00:27:19,920
have any feeling for me, any love for Marla, go

422
00:27:20,119 --> 00:27:27,240
from here today. I beg of you. Go. Almost insane

423
00:27:27,240 --> 00:27:31,200
with rage, I slammed my fist through the window. The

424
00:27:31,319 --> 00:27:34,240
pain the blood flowing from my arm brought me partially

425
00:27:34,240 --> 00:27:37,000
to my senses. I tried to stem the floor of blood,

426
00:27:37,000 --> 00:27:40,440
but the cuts too deep. Through the shattered window, I

427
00:27:40,440 --> 00:27:43,240
saw the Senora and ran down the stairs to the

428
00:27:43,240 --> 00:27:47,799
courtyard and approached her, pulling out my armor. Senora, as

429
00:27:47,799 --> 00:27:50,640
you can see, I've cut myself rather badly. Could you

430
00:27:50,640 --> 00:27:54,319
help me stop the bleeding bird? Senora? You're doing.

431
00:28:06,799 --> 00:28:07,240
Speaker 5: Get away?

432
00:28:18,039 --> 00:28:22,319
Speaker 2: I lost consciousness, and remember waking up in bed in

433
00:28:22,359 --> 00:28:25,799
my room with Marla kneeling by my bedside.

434
00:28:26,279 --> 00:28:31,000
Speaker 5: Oh, my love, my love, dear precious heart.

435
00:28:31,079 --> 00:28:34,000
Speaker 8: I should have sent you away long ago, but I

436
00:28:34,039 --> 00:28:35,400
didn't have the strength.

437
00:28:37,200 --> 00:28:40,839
Speaker 2: Don't cry, Marla, darling, and don't blame yourself.

438
00:28:41,119 --> 00:28:43,759
Speaker 4: I have done as you are, sister, and brought the

439
00:28:43,799 --> 00:28:44,599
carriage in front.

440
00:28:45,079 --> 00:28:46,240
Speaker 2: Will he be able to travel?

441
00:28:46,279 --> 00:28:48,319
Speaker 5: He must, Filippe, you know that.

442
00:28:50,079 --> 00:28:51,720
Speaker 2: You think that now I go away and leave you

443
00:28:51,759 --> 00:28:54,400
with my mother?

444
00:28:56,240 --> 00:28:57,119
Speaker 5: Can you set up?

445
00:28:57,880 --> 00:29:02,960
Speaker 2: Of course I can't. Oh, he cannot walk. I will

446
00:29:03,000 --> 00:29:06,720
have to carry him. Then I can't leave you here.

447
00:29:06,759 --> 00:29:07,519
It's dangerous.

448
00:29:07,839 --> 00:29:14,000
Speaker 8: I have lived here all my life, nodded, But there

449
00:29:14,000 --> 00:29:17,039
are no longer any secrets between us.

450
00:29:18,599 --> 00:29:19,559
Speaker 2: You must come with.

451
00:29:19,599 --> 00:29:20,279
Speaker 5: Me, Philippe.

452
00:29:20,400 --> 00:29:22,920
Speaker 8: He must have a doctor take him where there will

453
00:29:22,960 --> 00:29:25,640
be no questions asked, and he can be attended to.

454
00:29:31,440 --> 00:29:38,400
Speaker 2: Ah where am I? What? What place is this? Marla?

455
00:29:40,160 --> 00:29:44,920
Where is my little sir? He say? My son, father, Ramon,

456
00:29:46,359 --> 00:29:51,880
what are you doing here? Praying for you? My son?

457
00:29:52,319 --> 00:29:54,839
What is this place? How long have I been here?

458
00:29:55,079 --> 00:29:59,079
Speaker 3: Juli in the house of the taken Dama family in

459
00:29:59,200 --> 00:30:01,720
til old days, as they belong to the Cesarre state,

460
00:30:02,559 --> 00:30:07,319
they still feel loyalty to this is our family. You

461
00:30:07,480 --> 00:30:10,079
have been here three days?

462
00:30:10,279 --> 00:30:11,240
Speaker 2: Who brought me here?

463
00:30:11,960 --> 00:30:15,240
Speaker 3: Philly people? You aided by one of the digging damasns.

464
00:30:16,240 --> 00:30:20,559
Speaker 2: My wounds. Mala cared for the bah only at first.

465
00:30:21,279 --> 00:30:24,920
Speaker 3: Sure cuts were too serious, so we send for your doctor.

466
00:30:25,319 --> 00:30:25,680
Speaker 2: Cuts.

467
00:30:26,640 --> 00:30:29,839
Speaker 3: You put your hands through a glass window, did you not?

468
00:30:30,839 --> 00:30:34,200
Speaker 2: Sir? You you know that I'm not asking this question

469
00:30:34,240 --> 00:30:39,400
out of idle curiosity? What are this? Is our family? What?

470
00:30:39,400 --> 00:30:40,960
What are they? Hey?

471
00:30:42,559 --> 00:30:48,799
Speaker 3: An unfortunate example of a declining race. Once rich and mighty,

472
00:30:48,839 --> 00:30:53,000
they are now poor and neglected.

473
00:30:52,599 --> 00:30:55,440
Speaker 2: But not by you. You you visit mana Off and

474
00:30:55,480 --> 00:30:56,039
I seen you.

475
00:30:56,359 --> 00:31:01,799
Speaker 3: Yes, the Senorita is very warm, and I mother, You

476
00:31:01,880 --> 00:31:03,480
do not visit her?

477
00:31:04,319 --> 00:31:09,039
Speaker 2: No? She insane.

478
00:31:09,279 --> 00:31:13,440
Speaker 3: I can only answer that, according to my belief, she

479
00:31:13,640 --> 00:31:18,039
is not borrow or was not. Oh when she was young,

480
00:31:18,160 --> 00:31:21,680
she was wild, but she was is surely said.

481
00:31:23,359 --> 00:31:28,559
Speaker 2: You know I love Marla, and no, then you will

482
00:31:28,559 --> 00:31:29,319
help me see her?

483
00:31:30,519 --> 00:31:36,519
Speaker 3: No, why not such a meeting? We'd only bring pain.

484
00:31:36,599 --> 00:31:40,240
Speaker 2: To you both. It could also bring happiness. How could

485
00:31:40,279 --> 00:31:44,480
that come about? I proposed to marry her and take

486
00:31:44,519 --> 00:31:48,759
her away from here from the evil influences that pollute

487
00:31:48,799 --> 00:31:53,519
the residents here. This, this strain, or whatever it is

488
00:31:53,599 --> 00:31:56,720
me may live only in the place where it was born.

489
00:31:58,119 --> 00:32:00,119
If Mila were to be removed from this place with

490
00:32:00,200 --> 00:32:04,000
the man who loved the voted live, wouldn't there be

491
00:32:04,039 --> 00:32:09,519
a chance. I do not know, But in the matter

492
00:32:09,640 --> 00:32:13,200
of this kind I would trust the judgment of this

493
00:32:13,279 --> 00:32:17,799
in your reader, Will you take her a message? Before

494
00:32:17,799 --> 00:32:21,240
I answer that, I must tell you what the people

495
00:32:21,279 --> 00:32:27,240
of these parts believe about Marla's father. Mather's father was

496
00:32:27,880 --> 00:32:29,839
a good friend of the head of the house you

497
00:32:29,880 --> 00:32:33,799
are in now, the Tengendaba house. One day he and

498
00:32:33,880 --> 00:32:34,640
his friend.

499
00:32:34,440 --> 00:32:40,799
Speaker 3: Delivered some packages to the residency. The friend met Marla's mother,

500
00:32:41,519 --> 00:32:46,880
then the young woman, and immediately fell in love. All

501
00:32:46,920 --> 00:32:50,160
the villagers knew it and warned him, but he could

502
00:32:50,359 --> 00:32:54,359
talk and think of nothing but the woman the way

503
00:32:54,400 --> 00:32:59,119
I feel about mar Yes, my son bart with the difference.

504
00:33:00,240 --> 00:33:04,079
In the winter time, there are terrible storms upon the mountain,

505
00:33:04,160 --> 00:33:09,839
and the passes become dangerous. On this one night, Francisco

506
00:33:09,839 --> 00:33:12,680
had taken down and his friends found themselves on the

507
00:33:12,799 --> 00:33:14,319
pass before the residential.

508
00:33:15,680 --> 00:33:19,680
Speaker 2: It was a wild night with snow and wind.

509
00:33:20,920 --> 00:33:24,559
Speaker 3: And now I use the words of Francisco, who swears

510
00:33:25,759 --> 00:33:28,839
that Marra's mother came out upon the gallery with the

511
00:33:29,000 --> 00:33:34,559
lamp in her hand and called to them. Francisco says

512
00:33:34,559 --> 00:33:39,640
there was death that night on the mountains, but he

513
00:33:39,799 --> 00:33:43,079
feared there was worse inside the house.

514
00:33:44,839 --> 00:33:46,440
Speaker 2: Did they go in?

515
00:33:46,839 --> 00:33:53,079
Speaker 3: Francisco's friended, but Francisco wouldn't. He says that he even

516
00:33:53,160 --> 00:33:56,039
went down on his knees in the snow and begged

517
00:33:56,039 --> 00:33:57,319
his friend not to enter.

518
00:33:58,319 --> 00:34:05,680
Speaker 2: But to no others or what happened? Have on noos,

519
00:34:06,519 --> 00:34:12,360
dear man, what's never seen again? Will you tell Martha

520
00:34:12,480 --> 00:34:15,280
I must see her, high.

521
00:34:15,079 --> 00:34:22,280
Speaker 3: Willedness, son, I promise, but the steal she may not come.

522
00:34:22,840 --> 00:34:26,159
Speaker 2: You both know me. Tell her that unless she comes

523
00:34:26,159 --> 00:34:28,800
to me, I will go to her. I will return

524
00:34:28,880 --> 00:34:34,239
to the residencia.

525
00:34:37,719 --> 00:34:39,920
Speaker 5: It was wrong of you to send me that message

526
00:34:39,960 --> 00:34:40,920
with father Ramond.

527
00:34:41,760 --> 00:34:44,599
Speaker 2: I wanted to see you, to tell you that nothing matters.

528
00:34:45,360 --> 00:34:47,159
If you will not go away with me, I will

529
00:34:47,199 --> 00:34:50,000
stay here with you. I ask nothing.

530
00:34:51,199 --> 00:34:54,239
Speaker 8: I love you, dearest, I know you love me, But listen,

531
00:34:55,599 --> 00:34:57,639
I wish with all my heart that I did not

532
00:34:57,760 --> 00:34:59,119
have to tell you these things.

533
00:34:59,480 --> 00:35:00,840
Speaker 5: I pray, Oh how.

534
00:35:00,679 --> 00:35:02,880
Speaker 8: I prayed that you would leave without seeing me or

535
00:35:02,920 --> 00:35:03,679
asking for me.

536
00:35:04,920 --> 00:35:09,400
Speaker 5: But my prayers were not answered. I must teach you

537
00:35:09,519 --> 00:35:12,559
to see me for what I am, for what I

538
00:35:12,639 --> 00:35:13,559
may become.

539
00:35:13,880 --> 00:35:17,679
Speaker 2: Not you, Marla. I know your beauty not from your face,

540
00:35:17,719 --> 00:35:18,519
but from your soul.

541
00:35:18,800 --> 00:35:19,599
Speaker 5: Give me your hand.

542
00:35:21,039 --> 00:35:26,039
Speaker 8: There I place it against my heart. You feel the

543
00:35:26,199 --> 00:35:28,599
very beat of life. It only moves for you.

544
00:35:29,360 --> 00:35:32,119
Speaker 5: It is yours? Then, why are you but it is mine?

545
00:35:33,400 --> 00:35:35,599
Think how affected you were by the portrait that hung

546
00:35:35,599 --> 00:35:38,480
in your bedroom. You remember that painting?

547
00:35:39,039 --> 00:35:40,719
Speaker 2: Yes, every line, every feature.

548
00:35:40,840 --> 00:35:43,880
Speaker 8: The woman who sat for it died years ago, and

549
00:35:43,960 --> 00:35:48,239
she did evil in her lifetime. Now recall the painting

550
00:35:48,280 --> 00:35:52,719
and look closely at me. And what do you see?

551
00:35:53,039 --> 00:35:54,639
Speaker 2: I see the beautiful girl I love.

552
00:35:54,800 --> 00:35:57,559
Speaker 8: But you also see that my eyes and my hair,

553
00:35:57,679 --> 00:36:00,400
the lines of my body, they are.

554
00:36:00,280 --> 00:36:02,440
Speaker 5: Exactly the same as the portrait.

555
00:36:02,559 --> 00:36:06,360
Speaker 2: And the mouth is different you. Your lovely mouth reveals

556
00:36:06,360 --> 00:36:09,880
only sweetness. The mouth and the portrait should cruelly forget

557
00:36:09,920 --> 00:36:11,119
your family and be my wife.

558
00:36:11,320 --> 00:36:13,000
Speaker 5: You ask me to forget my family.

559
00:36:13,880 --> 00:36:16,760
Speaker 8: Can't you see that no gesture, I make, no tone

560
00:36:16,800 --> 00:36:19,119
in my voice, nor any glance from my eyes is

561
00:36:19,239 --> 00:36:20,360
wholly mine.

562
00:36:20,719 --> 00:36:21,920
Speaker 2: Yours and yours alone.

563
00:36:21,960 --> 00:36:22,280
Speaker 8: It's you.

564
00:36:22,440 --> 00:36:22,960
Speaker 2: I love you.

565
00:36:23,280 --> 00:36:27,239
Speaker 8: Think I can escape my heretage, of course, And I

566
00:36:27,400 --> 00:36:30,760
tell you, my love, that the hands of the dead

567
00:36:30,800 --> 00:36:32,199
are in my bosom.

568
00:36:32,519 --> 00:36:34,519
Speaker 5: They move me, they guide me.

569
00:36:34,760 --> 00:36:37,440
Speaker 2: Allah, I love you, and not shadows from the.

570
00:36:37,400 --> 00:36:43,119
Speaker 8: Past, shadows, shadows bearing the weight of centuries. Eight hundred

571
00:36:43,239 --> 00:36:47,239
years ago, my father's ruled all of this province. They

572
00:36:47,239 --> 00:36:51,519
were wise, cunning, and cruel. Their flags led in war.

573
00:36:51,840 --> 00:36:53,719
The king called them cousin.

574
00:36:54,400 --> 00:36:56,199
Speaker 2: In what you tell me, there's nothing in which to

575
00:36:56,239 --> 00:36:57,960
be ashamed, nothing to fear.

576
00:36:58,639 --> 00:37:04,440
Speaker 8: There came the change. My ancestors began to go down.

577
00:37:04,719 --> 00:37:09,079
Their minds fell asleep, their passions awoke in gusts. Beauty

578
00:37:09,199 --> 00:37:12,440
was still handed down, but no longer guided by humanity.

579
00:37:13,239 --> 00:37:17,280
The seed passed on. It was wrapped in flesh. The

580
00:37:17,360 --> 00:37:19,840
flesh covered the bones, but they were the bones and

581
00:37:19,840 --> 00:37:23,440
the flesh of fruits. And their mind was as the

582
00:37:23,559 --> 00:37:24,239
mind the fly.

583
00:37:24,639 --> 00:37:26,920
Speaker 2: Ah, you've lived too long with this, too long in

584
00:37:26,960 --> 00:37:29,199
that house, too long with the portraits of the books

585
00:37:29,199 --> 00:37:30,119
I saw in your study.

586
00:37:30,199 --> 00:37:32,119
Speaker 5: You also saw Philippe and my mother.

587
00:37:34,320 --> 00:37:37,880
Speaker 8: So you have seen for yourself how the wheel has

588
00:37:37,960 --> 00:37:40,679
gone backward with my doomed race.

589
00:37:40,920 --> 00:37:45,719
Speaker 2: Did you overlook one thing, me, my heritage, my blood,

590
00:37:45,800 --> 00:37:49,639
my ancestors. I feel they'll be strong enough to And if.

591
00:37:49,480 --> 00:37:52,679
Speaker 8: They don't, you ask me to hand down this cursed

592
00:37:52,800 --> 00:37:54,440
vessel of humanity, charge it.

593
00:37:54,440 --> 00:37:56,559
Speaker 5: With fresh life, as with fresh poison.

594
00:37:57,360 --> 00:38:01,800
Speaker 8: Never I ask you to love me, I already do,

595
00:38:03,079 --> 00:38:06,960
and that's why we shall never meet again. Even now,

596
00:38:07,000 --> 00:38:08,800
the people in this village are beginning to speak of

597
00:38:08,840 --> 00:38:10,559
your love for me, and they will not have it.

598
00:38:11,199 --> 00:38:14,679
Speaker 5: Every day that you linger here increases your peril.

599
00:38:14,840 --> 00:38:15,599
Speaker 2: I'm not afraid.

600
00:38:15,639 --> 00:38:18,920
Speaker 8: I have given my vow, my vow that my race

601
00:38:19,000 --> 00:38:20,639
shall walk the earth no more.

602
00:38:21,920 --> 00:38:23,760
Speaker 5: I shall be the last.

603
00:38:25,880 --> 00:38:27,159
Speaker 8: Ah.

604
00:38:27,519 --> 00:38:28,119
Speaker 5: I must go.

605
00:38:28,480 --> 00:38:32,280
Speaker 8: Wait, Marlett, Please, you heard, and you know I must

606
00:38:32,360 --> 00:38:33,159
go swiftly.

607
00:38:34,559 --> 00:38:36,800
Speaker 5: Remember me as the woman who sent.

608
00:38:36,800 --> 00:38:40,719
Speaker 8: You away and yet would have longed to keep you forever,

609
00:38:41,840 --> 00:38:45,039
the girl who had no dearer hope than.

610
00:38:44,920 --> 00:38:50,400
Speaker 5: To forget you, and no greater fear than to be forgotten.

611
00:38:51,559 --> 00:39:07,800
Speaker 2: Mallah milah. Come back now I can lay down my penel.

612
00:39:09,360 --> 00:39:13,280
My tale is told that it answers the question I

613
00:39:13,280 --> 00:39:19,400
evaded for so long why I never married. Whether what

614
00:39:19,440 --> 00:39:24,079
I've written here is believed or disbelieved is of no importance.

615
00:39:25,800 --> 00:39:29,679
What is important, is that I proved one fear of

616
00:39:29,719 --> 00:39:36,559
my beloved Marla to be groundless, a fear that she

617
00:39:36,639 --> 00:39:38,679
would be forgotten.

618
00:39:44,599 --> 00:39:48,559
Speaker 1: Like George Capewell, I ask for neither belief nor disbelief.

619
00:39:49,199 --> 00:39:51,880
The pages of history are filled with the names of

620
00:39:51,960 --> 00:39:54,800
people who were burned at the stake because a lot

621
00:39:54,800 --> 00:39:58,559
of other people believed they were witches. Therefore, I must

622
00:39:58,599 --> 00:40:02,079
add a fact which George cape Well omitted. A few

623
00:40:02,079 --> 00:40:05,159
months after he returned to his home in America, the

624
00:40:05,239 --> 00:40:09,599
newspapers reported the destruction by fire of an ancient residency

625
00:40:09,760 --> 00:40:12,760
in Spain belonging to the Cesar family.

626
00:40:13,679 --> 00:40:14,679
Speaker 2: I'll be back shortly.

627
00:40:26,800 --> 00:40:31,960
Speaker 1: It is widely believed that love conquers all. What puzzles

628
00:40:32,039 --> 00:40:35,199
me is why this belief is so universal when our

629
00:40:35,239 --> 00:40:37,920
literature abounds in stories proving.

630
00:40:37,639 --> 00:40:39,519
Speaker 2: The exact opposite.

631
00:40:39,639 --> 00:40:41,920
Speaker 1: My fancy is that we want to believe in the

632
00:40:42,000 --> 00:40:45,880
conquering power of love and goodness to balance our beliefs

633
00:40:46,199 --> 00:40:49,920
in the bad dreams of demons and destruction that at

634
00:40:49,960 --> 00:40:55,119
times haunt us. All our cast included Richard Kyley, ROBERTA.

635
00:40:55,119 --> 00:40:59,920
Maxwell and Potoniac, Bob Caliban and Ian Martin. The entire

636
00:40:59,840 --> 00:41:06,079
production was under the direction of Hyman Brown, and.

637
00:41:06,199 --> 00:41:09,079
Speaker 3: Now a preview of our next tale.

638
00:41:09,360 --> 00:41:10,199
Speaker 2: What is her condition?

639
00:41:10,360 --> 00:41:13,559
Speaker 9: Well it's not fatal, thank god, not even very serious.

640
00:41:14,159 --> 00:41:17,119
Badly bruised cut over her right eye, but she's going

641
00:41:17,119 --> 00:41:20,360
to be all right. The monster failed to make good

642
00:41:20,400 --> 00:41:21,519
his threat to kill her.

643
00:41:21,880 --> 00:41:26,360
Speaker 2: We may indeed thank God for that. Well, at least

644
00:41:26,559 --> 00:41:29,519
we know more than we did before, Monsieur dupain.

645
00:41:30,199 --> 00:41:32,360
Speaker 9: We know that the murderer is a big man, a

646
00:41:32,480 --> 00:41:36,960
huge man of unbelievable strength, and that he has black hair.

647
00:41:37,920 --> 00:41:41,559
Speaker 2: We know a great deal more than that year we do, well,

648
00:41:42,000 --> 00:41:46,159
I do, and so do you. Only, as I've said before,

649
00:41:47,000 --> 00:41:50,039
you don't know you know, or monsieur monsieur, I do

650
00:41:50,119 --> 00:41:53,639
not have your brilliant brain. It doesn't matter.

651
00:41:54,199 --> 00:41:57,679
Speaker 9: All that matters is that you can solve this awful mystery,

652
00:41:57,679 --> 00:42:01,760
that you can save Yvette. The murderer failed this time,

653
00:42:01,800 --> 00:42:02,880
but he'll try again.

654
00:42:03,679 --> 00:42:06,800
Speaker 1: Radio Mystery Theater was sponsored in part by Buick Motor

655
00:42:06,840 --> 00:42:09,800
Division and sigin Off the Sinus Medicines.

656
00:42:10,519 --> 00:42:11,119
Speaker 2: This is E. G.

657
00:42:11,280 --> 00:42:14,480
Speaker 1: Marshall inviting you to return to our Mystery Theater for

658
00:42:14,599 --> 00:42:26,079
another adventure in the macabre. Until next time, Pleasant Dreams,