Speaker 1: Our mystery drama that says our Curse was especially adapted
from the Robert Lewis Stephenson classic for the mystery theater
by Murray Burnett and stars Richard Kylie. It is sponsored
in part by Uncle Ben's Long Grain and Wild Rice
and Anheuser Busch Incorporated brewers of Budweiser. I'll be back
shortly with Act one. We all know that there is
no such thing as a curse transmitted from one generation
to the next, which calls down evil upon all the
descendants of the cursed family. Science, of course, tells us
that such diseases as diabetes, amophilia, and madness can be
handed down in a family, but science frowns upon anything
of the extraordinary or bizarre. In this instance, I must
respectfully take issue with the scientists, and as a case
in point, bring you the story of George Capewell, whom
we first meet at the age of sixty seven as
he adds a corticil to his last will and testament.
Speaker 2: Today, my family physician told me that death was no
more than a week or two away. Wherefore I feel
compelled to explain why I George Capell will be the
last of the Capewells. This was my choice, and this
codicilier my will will explain why I made it. For
the sake of clarity, I must go back some forty
years to one summer when I fell seriously ill but
almost died while vacationing in Spain.
Speaker 3: Did one you are looking almost arrive again, and I
don't mind saying it is a small miracle sponsored by you,
doctor Balis Haw.
Speaker 2: Let's give God a little credit too.
Speaker 3: And now to complete the cure, I insist that you
have a few weeks of absolute rest and good fresher.
Speaker 2: If you're talking about one of those sanatoriums, forget.
Speaker 3: The place I have in mind is as completely unlike
a sanatorium as you can imagine. It is a residencia,
the estate of a very old and proud family who
have fallen upon half times and are willing to take
an American as a paying guest, with one proviso, which
is that you remain a stranger. You are not permitted
the smallest intimacy.
Speaker 2: And so it came about that I found myself in
an ancient, dilapidated horse drawn carriage driven by a young
man who's whose appearance excited both attraction and repulsion. Live
and well built, with large brilliant yellow eyes go to
aquiden features. He was also so extremely hairy that want
instinctively to be back from Do we have much further
to travel? Really bit over.
Speaker 4: Two bridges and past the tow of the mountains.
Speaker 2: Hash they don't know. There's no need to quit the
horse and in a hurry. Sometimes he grows lazy. Besides,
there is the bad place. We come to it shortly,
bad place on this road. Oh, yes, are the first bridge.
Speaker 4: You can begin to hear it, the bridges under a
pair No, not saying you are the bridge is seeing
the wires is a bad place because.
Speaker 2: It makes me afraid. What is there to be afraid of?
Speaker 3: The noise? Saying you are the noise.
Speaker 2: There? It is better now, it's such a noise, won't
hurt you, Philippe. It's it's just the sound of the water.
Speaker 4: So my sister tells me, Senor. But still I am afraid.
Speaker 2: With that answer, I realized that there was a child's
mind in that body, and from that time on I
regarded Philippe with indulgence and even a sort of liking,
as I listened to his innocent prattling until we drew
up before a great arch, molish way secured my iron
studied gates. We arrive, Senor, we are home. You can
descend from the carriage.
Speaker 5: Now please.
Speaker 2: Through these gates in your please. This is the courtyard, Senor.
It is very beautiful by day.
Speaker 4: And now, Senor, if you please up these stairs carefully?
Speaker 2: Oh, thank youfully pay. I don't suppose we could have
more light.
Speaker 4: Alas, Senor, we have no electric, only the candles.
Speaker 2: We are here, Senor. Your room pleasant, how really pleasant?
And a table laid for supper.
Speaker 4: That's very thoughtful, Yes, Senor, it is a fine room,
a very fine room in daylight.
Speaker 2: What can I see from these windows?
Speaker 4: The courtyard, Senor, and some of the countryside. It is
very fine. And the fireplace too. The fire is good.
Speaker 2: It melts out the pleasure from your bones. I suppose
that's one way of putting it. Those those animal skins
on the wall, they come from it. Do not know
they have been here always. But look at the bed.
Speaker 4: See the fine sheets, how soft and smooth, smooth.
Speaker 2: You're careful with that candle, you'll you'll set the place
on fire. Here, let me have it so smooth, so smooth,
This looks like a fine wine you have here on
the table, it'd say from a nearby vineyard. Will you
joined me in the glass? No? No, no, not that
that is for you. I hate it very well. But then, Felipe,
I would like to make this first glass of wine
in this residency a toast to your hospitality and to
your mother, the Senora Glassy signor, which reminds me, when
shall I have the pleasure of conveying my respects and
thanks to your mother? Never? No, never, good night sor
even now, as I write this document, with the cold
hand of death coming ever closer to me, I can
still feel the warmth of that fire. You'll see the
portrait of the woman on the wall, illuminated by the
flickering flames. For ten days I gained in strength, saw
no one but Philippe, and for ten nights fell asleep
with the face of that portrait looking down on me,
a face of a magnificently beautiful woman, yet marred by
a cruel, sullen and sensual expression. I was struck by
the strong resemblance to Philippe, and one morning, as he
served me my breakfast, a portrait on the wall an
ancestor signor more coffee, No, no, thank you. Who is
that crossing the courtyard? De babe? He comes to hear
your sister's confession. Yes, he's been doing that for some time,
for many years, many years. Well, then he would know
who the woman in the portrait is. I could ask
you and not to ask questions.
Speaker 3: You are not.
Speaker 2: I have been bored. But who told you your mother?
The senora? You will be punished, you are see.
Speaker 4: You will be punished, and it will not be because
of me or anything I have done.
Speaker 2: It will not be my fault. And now my pen hesitates,
even to day, forty years later, I feel ashamed. I
justified my action by telling myself that I was entitled
to pierce the veil of mystery that surrounded this strange household.
But I refused to admit was the spell the woman
in the portrait had cast upon me. Day after day,
the double knowledge of her wickedness and my weakness grew clearer.
So shamefully I confess, I set out to find Filippe
to continue questioning that childlike mind. I knew I would
find him in the woods. That I did not, I'd
be horrified by my discovery.
Speaker 4: Let that squirrel go there you go, I said, yay, Singor,
I am sorry.
Speaker 2: Sorry. What kind of person are you? A little while
ago you pretended to be upset because I didn't like
your coffee, and now I find you torturing a poor
dumb animal. You're the one who deserves to be tortured.
I'm going to tell your mother I don't want to
see you again. You're not to serve me.
Speaker 6: You understand, Perlice saying youre please. I'd go upon my
knees to you forgive him. Bear with me, saying or,
I try so hard. Forgive me please.
Speaker 2: Only if you promise never to do anything like this again.
Speaker 4: I promise, Sor, I promise.
Speaker 2: Thank you, Singor, I promise. I swearthy your taypey hall,
they come back, come back here. I want to talk
to you. But no amount of calling brought him back.
I returned to the house, and as I walked slowly
across the courtyard, I first saw my hostess. She was
seated on an animal skin, leaning against a pillar, sunning herself.
She was an elegant, sumptuous figure, and although she must
have heard my footsteps, she seemed unconscious of my presence.
Good days, and you're a sizard. May I join you
if you wish you? You know who I am a gift.
I should have presented myself to you before, but your
son told me you are unavailable.
Speaker 7: He may see here if you stay out of my son.
You like the sun, It warms me, and I like.
Speaker 2: Warm I I really wanted to talk to you about
the woman in the portrait in my room, poetrait is
the painting? Surely you know it? Felipe told me she
was one of the family. She fascinates me.
Speaker 5: Who was she? I seen? She was my mother?
Speaker 2: You think, don't you know who? I beg your pardon?
You look so much like the woman and the portraiture,
your mother, I think you said I. I really would
like to know something about her.
Speaker 5: Son is going behind the clouds.
Speaker 7: I am afraid the black wind is coming and we
shall all suffer from it.
Speaker 5: I must beat your juice.
Speaker 2: And she was gone, silently, gracefully. She was right about
the wind. It came from the malarial lowlands and over
the sierras. It stormed about the house with a hollow
buzzing that was wearisome to the ear, depressing to the mind,
and jangle the nerves. By the time Philippe brought my supper.
I was in a state of nervous exhaustion. Philippe also
was in a state of nerves, his yellow eyes burning
in his face like two candles, his hands shaking so
that the silver clattered against the breets. For Heaven's sake,
stop that noise, SI saying it's the black wind.
Speaker 4: It palls and palls at You're telling you you must
do something, but you don't know what it is you
must do.
Speaker 2: Your mother she seemed to be unhappy with the wind too.
I think she's ill, oh.
Speaker 5: Senor with this wind?
Speaker 6: Who can be well?
Speaker 2: Now? I must write of that black wind and blacker night.
I went to bed early, I couldn't sleep. Suddenly sunfilled
the house. I thought of Filippe and the squirrel. I
ran to the door or, only to find that it
was locked from the outside. It resisted all my efforts
to ogritten. I sank to the floor, my hands pressed
over my ears, trying to blot out those inhuman ravings.
It was useless. The last thing I've heard for losing
consciousness was those ravings through hell.
Speaker 1: There are those among us who feel that some mysteries
are best left unsolved, Some secrets never should be told,
because George Capewell was not one who believed this. We
can continue in a moment with that too, but I
warn you the discovery may well send a shuddering chill
through your bones. On everyone within the range of my
voice has experienced some evidence of love's blindness. The doting
male sees his beloved as perfection, whereas the young girl
may see his faults but is certain that all that's
needed to correct them is the gift of her love.
George Capewell was destined to fall in love profoundly, electrifyingly,
overwhelmingly for the first and last time in his life,
only to find that this all consuming passion was to
lead him to the very brink of hell.
Speaker 2: I must continue with this writing so you will know
why I leave this earth with no child to carry
on the name of Capewell, even though the writing brings
back all the anger terror of those days more than
forty years ago. When I awoke on the floor the
morning after the terrible night of the Black Wind, the
sun was shining. The cheerful Philippe appeared with my breakfast.
Speaker 4: Good morning signor is it not a beautiful day?
Speaker 2: It's beautiful and quiet. There will be enough coffee for
the moment. Yes, Senor. What were those dreadful cries I
heard last night the wayne, Signor. You know that's not true,
and I mean to have the truth. Was it some
animal you were torturing?
Speaker 4: Not, Senor, I swear it was na I promised your Signor,
and Philippe keeps his promise.
Speaker 2: Give me your hand, fe Lippe. Yes, Singer, this is
the hand the torture that poor squirrel. But Signor, I
swore to you. No used to struggle, Philippe. I'm stronger
than you are. Unless I'm mistaken. This is the hand
that locked my door last night. Signor, Please go of
my stranger, Philippe. But I'm also a guest and I
will not be locked in my room like a criminal.
Now you understand here, Senor, Yes, thank you, I understand Now.
How is it I never see your sister? Does she
have some reason for avoiding me? My sister is a
good girl. It is she that keeps me up, Senor.
Without her, I would be lost, Signor. And no doubt
she has reproved you for your sin of cruelty twelve times.
And when I told her what you had done in
the woods. She was pleased. Yes, she was happy. Then
who or what was unhappy enough to make those sounds
in the night.
Speaker 4: I have told you signor the wind, the black queen.
Speaker 2: You know I'm stronger than you, appily pain, Please singer,
Let me go and I will get the truth if
I have to shake it or beat it out of you.
Speaker 6: Please singor.
Speaker 2: Yes? Who is it?
Speaker 3: I amwer?
Speaker 2: Yes, come in.
Speaker 3: I was passing in the courtyard. I thought I had
a cry.
Speaker 2: It was hypadre. I burn my hand with the coffee.
Speaker 3: Ah, so Phi, then I would be good.
Speaker 2: No, no, no, father, don't don't go. I'd like to
speak to you, jes my son. If the Senor doesn't
need me, you can go for lip. I should introduce myself.
Speaker 3: Father, I'm George Cape Wales, he guessed here at the residencia.
Speaker 2: Yes, and well, you see before you a very puzzled
and disturbed man. Is there some way I can help?
I hope? So, Father, do you know the woman in
this portrait on the wall? Ah?
Speaker 3: Yes, that is the likeness of marlasses Ah.
Speaker 2: Well, I was hoping that you could tell me something
about her.
Speaker 3: She was the great grandmother of the pleasant daughter of
the house who is named after. But why are you
concerned with the painting.
Speaker 2: Well because of the beauty of the woman, because of
the resemblance of the present, Senora says, are to this woman.
And well because father, the woman in the portrait has
cast a dark shadow on my mind.
Speaker 3: I know that you came here to regain your health
after resevere illness. Perhaps there are still some traces of
fever of that linger.
Speaker 2: I know now, fever in the world could make me
hear the cries I heard last night, Father, They sounded
like like the bestial screams of a soul in hell.
And you think they came from the portrait, the whole
atmosphere of this residency here, it's strange. I've never seen
the daughter of the house, and.
Speaker 3: That is how it should be. If you would forgive me,
I should be with her now. I don't like to
keep her waiting.
Speaker 2: You're telling me to close my eyes and ears to
everything that goes on and not interfere.
Speaker 3: I am only reminding you that you are a guest,
and you should remain a guest. Nothing more.
Speaker 2: Sleep came to me early, and dreams filled the night.
I tossed and turned as the dreams became more and
more vivid, and then I remember waking to see that
somehow the beautiful face had left its frame and was
bending over me. Only the face was younger than in
the portrait, and softer, with great eyes that looked deep
into mine. I tossed off the bedclothes and struck a
match to light a candle. Where are you come back? Please?
I I know you are here, Come back. I won't
harm you. There was only silence, the cruel eyes of
the portrait looking down at me. I sat up the
rest of the night, and it was the next day
when I came face to face that marluss Is are As.
She stood in her doorway after saying farewell to Father Ramond.
Once again, I looked into those marvelous eyes, and then
she turned quickly and closed the door. I rapped sharply. Senorita, Senorita,
please open.
Speaker 5: The door, senor It is useless.
Speaker 2: What is useless?
Speaker 5: That we should talk? We must, we cannot cannot.
Speaker 2: What will stop us?
Speaker 5: I will? I know that what you're thinking is impossible.
Speaker 2: Then you know what I'm thinking, of course, and you
will turn your back on me and my love.
Speaker 5: I have no choice.
Speaker 2: Nonsense, everyone is a choice except me.
Speaker 5: Why do you say that I know, believe me, I
know all right?
Speaker 8: Tell me why, please, Senor, it is not permitted to
love me.
Speaker 2: Who will not permit it?
Speaker 8: I will not.
Speaker 2: Well, Then again I ask you why.
Speaker 5: If you really loved me, you would not ask me.
Speaker 2: If you really loved me, you'd tell me.
Speaker 5: I did not say I loved you.
Speaker 2: But your eyes speak for themselves. You knew we love
from the moment our eyes first met. Are you not
ashamed of my love for you?
Speaker 3: No?
Speaker 8: Never of breaking the rules under which you came to
be a guest in this house, of using your worldly
wisdom to make me betray myself and my family.
Speaker 5: Ah, these not shameful, Signor.
Speaker 2: I only know that I love you, and you love me.
And between two people who love there must be trust.
Speaker 8: And between us, Signor, I tell you there can be
nothing but a closed door.
Speaker 2: As I look at the pages I've already written, I
feel now as I felt then be urged to stop,
to seek no more answers. In my heart, I knew
that the beautiful creature I loved had a strange mother
and a pitiful brother. My heart told me that she
was a child of an afflicted house. But all that
mattered was that I should make her mind. For two
days I walked in the woods with her image ever
before my eyes, but she didn't appear. Then on the
third day, Martha, my beloved, you came to me.
Speaker 8: Yes, I came to you, and I shouldn't. And I
hate myself for it. I hate myself for my weakness.
Speaker 2: Love isn't a weakness for me. It is and it
gives me strength, strength to ask you to marry me
and to come away with me as my wife.
Speaker 5: You don't know what you're saying.
Speaker 2: I'm saying, marry me and come away from this place.
Come to my country and my house, and let me
show you how much I love you, and how much
I can give to you. I can't, Martha, we were
drawn together by the miracle of love. It would be
a sind No, oh, this miracle, this is madness. Good Bye, Palla,
come back. I won't let you go.
Speaker 5: You must never Please, don't touch me.
Speaker 2: Don't be afraid. Once my arms are around you and
our lips have met, you'll see that I'm right. You
know that we belong together.
Speaker 8: Oh oh, no, no, no, Marla.
Speaker 2: Well, sweetly, the name sounds on my lips.
Speaker 8: You do love me.
Speaker 2: Admit it, darling.
Speaker 5: You will go away today, you will leave the.
Speaker 8: Residencia, and you must never return.
Speaker 1: Fatalists believe that the threads of our lives are woven
for us long before we embark on life's journey, and
that it's useless to struggle against our destinies.
Speaker 2: But for centuries, the stuff.
Speaker 1: Of drama has been fashioned from a man's refusal to
accep the inevitable, to fight on no matter what the odds.
George Capewell chose to fight, and we'll be back with
the terrifying results of that decision in a few moments.
To find love only to lose it is an age
old story, but usually the rejected lover knows in his
heart why he's been rejected. George Capele sense that Marla
Cesar had refused to marry him out of a nameless
but genuine fear, a fear which he himself felt hung
heavily over the Cesar household. George Capele was convinced that
if he only could discover the cause of this fear,
he could dispel it and he and Marla would live
happily ever after.
Speaker 2: As my life in this last Will and Testament draw
near to a close, it becomes ever more difficult for
me to find words adequate to describe the anguish and
terror I felt more than forty years ago, and the
remote and fear ridden, says our Residentsia. I remember crossing
the courtyard and my way to my room, trying to
damn the raging torrent of my thoughts, and seeing the
sensuous figure of Signora ces are dozing contentedly in a
favorite spot in the sun. Senora, Senora, I'm I'm sorry
to disturb you, but I must talk with you. Most toy.
Your daughter has asked me to leave your house.
Speaker 5: Why do you come to me?
Speaker 2: I want to know if if you want me to go. Also,
you have done nothing to annoy me.
Speaker 5: What did you do to annoy it?
Speaker 2: I fell in love with her and asked her to
marry me.
Speaker 7: Mane a very pretty girl, very pretty.
Speaker 2: I know she loves me, and yet she asked me
to leave. She she has some reason for wanting me
to go away. And well, it occurred to me that
maybe the reason concerns you.
Speaker 7: I took care of Marlowe when she needed me.
Speaker 2: Now she is a grown woman.
Speaker 5: She can do as she pleases.
Speaker 2: What was it that made those hellish sounds the other
night sounds? What sounds? Surely you must remember it. It
was the night of the black wind, and the cries
and the screams of pain came from the throat of
some animal or some human that was undergoing torment. They
shocked the hall.
Speaker 7: I heard nothing, but then I sleep very soundly.
Speaker 2: She was lying, of course. I reached my room in
a black rage and found a note in Marla's handwriting.
I took it to the window to read the words
are see it into my brain. It read, if you
have any feeling for me, any love for Marla, go
from here today. I beg of you. Go. Almost insane
with rage, I slammed my fist through the window. The
pain the blood flowing from my arm brought me partially
to my senses. I tried to stem the floor of blood,
but the cuts too deep. Through the shattered window, I
saw the Senora and ran down the stairs to the
courtyard and approached her, pulling out my armor. Senora, as
you can see, I've cut myself rather badly. Could you
help me stop the bleeding bird? Senora? You're doing.
Speaker 5: Get away?
Speaker 2: I lost consciousness, and remember waking up in bed in
my room with Marla kneeling by my bedside.
Speaker 5: Oh, my love, my love, dear precious heart.
Speaker 8: I should have sent you away long ago, but I
didn't have the strength.
Speaker 2: Don't cry, Marla, darling, and don't blame yourself.
Speaker 4: I have done as you are, sister, and brought the
carriage in front.
Speaker 2: Will he be able to travel?
Speaker 5: He must, Filippe, you know that.
Speaker 2: You think that now I go away and leave you
with my mother?
Speaker 5: Can you set up?
Speaker 2: Of course I can't. Oh, he cannot walk. I will
have to carry him. Then I can't leave you here.
It's dangerous.
Speaker 8: I have lived here all my life, nodded, But there
are no longer any secrets between us.
Speaker 2: You must come with.
Speaker 5: Me, Philippe.
Speaker 8: He must have a doctor take him where there will
be no questions asked, and he can be attended to.
Speaker 2: Ah where am I? What? What place is this? Marla?
Where is my little sir? He say? My son, father, Ramon,
what are you doing here? Praying for you? My son?
What is this place? How long have I been here?
Speaker 3: Juli in the house of the taken Dama family in
til old days, as they belong to the Cesarre state,
they still feel loyalty to this is our family. You
have been here three days?
Speaker 2: Who brought me here?
Speaker 3: Philly people? You aided by one of the digging damasns.
Speaker 2: My wounds. Mala cared for the bah only at first.
Speaker 3: Sure cuts were too serious, so we send for your doctor.
Speaker 2: Cuts.
Speaker 3: You put your hands through a glass window, did you not?
Speaker 2: Sir? You you know that I'm not asking this question
out of idle curiosity? What are this? Is our family? What?
What are they? Hey?
Speaker 3: An unfortunate example of a declining race. Once rich and mighty,
they are now poor and neglected.
Speaker 2: But not by you. You you visit mana Off and
I seen you.
Speaker 3: Yes, the Senorita is very warm, and I mother, You
do not visit her?
Speaker 2: No? She insane.
Speaker 3: I can only answer that, according to my belief, she
is not borrow or was not. Oh when she was young,
she was wild, but she was is surely said.
Speaker 2: You know I love Marla, and no, then you will
help me see her?
Speaker 3: No, why not such a meeting? We'd only bring pain.
Speaker 2: To you both. It could also bring happiness. How could
that come about? I proposed to marry her and take
her away from here from the evil influences that pollute
the residents here. This, this strain, or whatever it is
me may live only in the place where it was born.
If Mila were to be removed from this place with
the man who loved the voted live, wouldn't there be
a chance. I do not know, But in the matter
of this kind I would trust the judgment of this
in your reader, Will you take her a message? Before
I answer that, I must tell you what the people
of these parts believe about Marla's father. Mather's father was
a good friend of the head of the house you
are in now, the Tengendaba house. One day he and
his friend.
Speaker 3: Delivered some packages to the residency. The friend met Marla's mother,
then the young woman, and immediately fell in love. All
the villagers knew it and warned him, but he could
talk and think of nothing but the woman the way
I feel about mar Yes, my son bart with the difference.
In the winter time, there are terrible storms upon the mountain,
and the passes become dangerous. On this one night, Francisco
had taken down and his friends found themselves on the
pass before the residential.
Speaker 2: It was a wild night with snow and wind.
Speaker 3: And now I use the words of Francisco, who swears
that Marra's mother came out upon the gallery with the
lamp in her hand and called to them. Francisco says
there was death that night on the mountains, but he
feared there was worse inside the house.
Speaker 2: Did they go in?
Speaker 3: Francisco's friended, but Francisco wouldn't. He says that he even
went down on his knees in the snow and begged
his friend not to enter.
Speaker 2: But to no others or what happened? Have on noos,
dear man, what's never seen again? Will you tell Martha
I must see her, high.
Speaker 3: Willedness, son, I promise, but the steal she may not come.
Speaker 2: You both know me. Tell her that unless she comes
to me, I will go to her. I will return
to the residencia.
Speaker 5: It was wrong of you to send me that message
with father Ramond.
Speaker 2: I wanted to see you, to tell you that nothing matters.
If you will not go away with me, I will
stay here with you. I ask nothing.
Speaker 8: I love you, dearest, I know you love me, But listen,
I wish with all my heart that I did not
have to tell you these things.
Speaker 5: I pray, Oh how.
Speaker 8: I prayed that you would leave without seeing me or
asking for me.
Speaker 5: But my prayers were not answered. I must teach you
to see me for what I am, for what I
may become.
Speaker 2: Not you, Marla. I know your beauty not from your face,
but from your soul.
Speaker 5: Give me your hand.
Speaker 8: There I place it against my heart. You feel the
very beat of life. It only moves for you.
Speaker 5: It is yours? Then, why are you but it is mine?
Think how affected you were by the portrait that hung
in your bedroom. You remember that painting?
Speaker 2: Yes, every line, every feature.
Speaker 8: The woman who sat for it died years ago, and
she did evil in her lifetime. Now recall the painting
and look closely at me. And what do you see?
Speaker 2: I see the beautiful girl I love.
Speaker 8: But you also see that my eyes and my hair,
the lines of my body, they are.
Speaker 5: Exactly the same as the portrait.
Speaker 2: And the mouth is different you. Your lovely mouth reveals
only sweetness. The mouth and the portrait should cruelly forget
your family and be my wife.
Speaker 5: You ask me to forget my family.
Speaker 8: Can't you see that no gesture, I make, no tone
in my voice, nor any glance from my eyes is
wholly mine.
Speaker 2: Yours and yours alone.
Speaker 8: It's you.
Speaker 2: I love you.
Speaker 8: Think I can escape my heretage, of course, And I
tell you, my love, that the hands of the dead
are in my bosom.
Speaker 5: They move me, they guide me.
Speaker 2: Allah, I love you, and not shadows from the.
Speaker 8: Past, shadows, shadows bearing the weight of centuries. Eight hundred
years ago, my father's ruled all of this province. They
were wise, cunning, and cruel. Their flags led in war.
The king called them cousin.
Speaker 2: In what you tell me, there's nothing in which to
be ashamed, nothing to fear.
Speaker 8: There came the change. My ancestors began to go down.
Their minds fell asleep, their passions awoke in gusts. Beauty
was still handed down, but no longer guided by humanity.
The seed passed on. It was wrapped in flesh. The
flesh covered the bones, but they were the bones and
the flesh of fruits. And their mind was as the
mind the fly.
Speaker 2: Ah, you've lived too long with this, too long in
that house, too long with the portraits of the books
I saw in your study.
Speaker 5: You also saw Philippe and my mother.
Speaker 8: So you have seen for yourself how the wheel has
gone backward with my doomed race.
Speaker 2: Did you overlook one thing, me, my heritage, my blood,
my ancestors. I feel they'll be strong enough to And if.
Speaker 8: They don't, you ask me to hand down this cursed
vessel of humanity, charge it.
Speaker 5: With fresh life, as with fresh poison.
Speaker 8: Never I ask you to love me, I already do,
and that's why we shall never meet again. Even now,
the people in this village are beginning to speak of
your love for me, and they will not have it.
Speaker 5: Every day that you linger here increases your peril.
Speaker 2: I'm not afraid.
Speaker 8: I have given my vow, my vow that my race
shall walk the earth no more.
Speaker 5: I shall be the last.
Speaker 8: Ah.
Speaker 5: I must go.
Speaker 8: Wait, Marlett, Please, you heard, and you know I must
go swiftly.
Speaker 5: Remember me as the woman who sent.
Speaker 8: You away and yet would have longed to keep you forever,
the girl who had no dearer hope than.
Speaker 5: To forget you, and no greater fear than to be forgotten.
Speaker 2: Mallah milah. Come back now I can lay down my penel.
My tale is told that it answers the question I
evaded for so long why I never married. Whether what
I've written here is believed or disbelieved is of no importance.
What is important, is that I proved one fear of
my beloved Marla to be groundless, a fear that she
would be forgotten.
Speaker 1: Like George Capewell, I ask for neither belief nor disbelief.
The pages of history are filled with the names of
people who were burned at the stake because a lot
of other people believed they were witches. Therefore, I must
add a fact which George cape Well omitted. A few
months after he returned to his home in America, the
newspapers reported the destruction by fire of an ancient residency
in Spain belonging to the Cesar family.
Speaker 2: I'll be back shortly.
Speaker 1: It is widely believed that love conquers all. What puzzles
me is why this belief is so universal when our
literature abounds in stories proving.
Speaker 2: The exact opposite.
Speaker 1: My fancy is that we want to believe in the
conquering power of love and goodness to balance our beliefs
in the bad dreams of demons and destruction that at
times haunt us. All our cast included Richard Kyley, ROBERTA.
Maxwell and Potoniac, Bob Caliban and Ian Martin. The entire
production was under the direction of Hyman Brown, and.
Speaker 3: Now a preview of our next tale.
Speaker 2: What is her condition?
Speaker 9: Well it's not fatal, thank god, not even very serious.
Badly bruised cut over her right eye, but she's going
to be all right. The monster failed to make good
his threat to kill her.
Speaker 2: We may indeed thank God for that. Well, at least
we know more than we did before, Monsieur dupain.
Speaker 9: We know that the murderer is a big man, a
huge man of unbelievable strength, and that he has black hair.
Speaker 2: We know a great deal more than that year we do, well,
I do, and so do you. Only, as I've said before,
you don't know you know, or monsieur monsieur, I do
not have your brilliant brain. It doesn't matter.
Speaker 9: All that matters is that you can solve this awful mystery,
that you can save Yvette. The murderer failed this time,
but he'll try again.
Speaker 1: Radio Mystery Theater was sponsored in part by Buick Motor
Division and sigin Off the Sinus Medicines.
Speaker 2: This is E. G.
Speaker 1: Marshall inviting you to return to our Mystery Theater for
another adventure in the macabre. Until next time, Pleasant Dreams,