November 26, 2025 • 41 mins
CBS Radio Mystery Theater was a noteworthy attempt to revive in American radio dramas like Inner Sanctum (1941-1952) and Suspense (1942-1962). Radio dramas were widely considered "dead" 12 years prior to this series. CBS Radio Mystery Theater, or simply Mystery Theater, was created by Inner Sanctum creator Himan Brown and ran on CBS from 1974-1982. The show, much like older radio dramas, was introduced by a host (E.G. Marshall in this program), who steers us through the creaking door to start the episode. Many voices from the golden age of radio were featured, including Richard Widmark, Bret Morrison, Agnes Moorehead and many more. Find more classic, old-time radio series at Theater of the Mind - OTR | Spreaker | Apple | YouTube
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Enjoy all six of our commercial-free internet radio stations at theaterofthemind-otr.com - Do you want to discover more of these classic, old-time radio series? Search "Theater of the Mind - OTR" on your favorite platform or visit Theater of the Mind - OTR | Apple | Spreaker | YouTube | Spotify | Amazon | iHeart
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
CBS Radio Mystery Theater presents. Come in. Welcome. I'm e. G. Marshall.
(00:26):
Today we go back to the middle of the nineteenth century.
We're in Paris. Twenty years have passed since Napoleon Bonaparte
ruled half of Europe. The peasants are still poor, but
the privileged are Fewer. Changes are in the air not, however,
in what the people live by believed in. To be
(00:48):
trusted is still a greater compliment than to be loved.
To be faithful is the rock on which all marriages
are founded. A man might look elsewhere, but a woman.
Speaker 2 (01:03):
Never, Madame, I wish to know, is there someone hiding here?
No monsieur, supposing I had to open that closet door
to see for myself.
Speaker 3 (01:13):
Husband, if you should find no one in there, all
will be over between us.
Speaker 1 (01:20):
You'll threaten me.
Speaker 4 (01:21):
If there is no truth between us, there can be
no marriage.
Speaker 2 (01:25):
Swear to me there is no one in there, and
I should believe you.
Speaker 3 (01:30):
Swear I swear.
Speaker 1 (01:42):
Our mystery drama The Countess, adapted from the Honorary of
Balzac classic, was written especially for the Mystery Theater by
Jerry Keene and stars Marion Soldi's and ROBERTA. Maxwell. It
is sponsored in part by True Value hardware stores in
the Buick Mortar division. I'll be back shortly with that
(02:03):
one today. Our guide to a strange mystery is the
celebrated French author Honore de Balzac. It is said he
wrote from life, peopled his novels and stories with his
friends and neighbors. Certainly, a no more extraordinary couple begin
(02:27):
his story than the beautiful lady and handsome gentleman of
middle years. Seated in a Left Bank cafe early one morning,
Wrapped in each other, they do not notice they are
being observed by young Charles, a student at the university,
who frequents that cafe for his breakfast. The proprietor sets
down a small cup of coffee and wipes his hands
(02:48):
on his aprow. Charles, have brought you your usual thank you?
Who are they?
Speaker 5 (02:56):
Who?
Speaker 1 (02:56):
Who are who? That beautiful woman and that man with
a hand skin and the gray hair at the corner table,
Monsieur madame, I've only just moved into the neighborhood. I've
not yet lone their nighbors. I must say it to
their age to be holding hands and looking into each
other's eyes. You're in love is only for the very
(03:17):
young twenty one years like you shud, of course not.
But that woman I know her somewhere long ago was something.
She's not so good to drink your coffee so quickly?
Speaker 5 (03:31):
Are you off already?
Speaker 1 (03:32):
I must? I'm late for class.
Speaker 3 (03:34):
I wish, I.
Speaker 6 (03:36):
Wish I could meet them, the lady particularly, she's.
Speaker 1 (03:40):
Ould enough to be your mother, Momberdi my mother, but
not likely. I have been an orphan for as long
as I can remember all of what did you see
that young man cordor everyone who just ran out of
the cafe.
Speaker 3 (03:54):
Yes, don't be angry with me, but I must leave
here right away.
Speaker 1 (03:59):
My god, yes, only just sat down.
Speaker 5 (04:01):
Oh, do not argue it.
Speaker 3 (04:03):
I shall tell you all the women are back at
the hotel.
Speaker 5 (04:09):
I love this view.
Speaker 3 (04:11):
I don't think one chimney has changed on one rooftop
in the last twenty years. Did you bring up some
bread for the pigeons?
Speaker 1 (04:18):
Breadth of it, Josephine, You didn't drag me back to
our room to talk about feeding the pigeon.
Speaker 3 (04:26):
Oh, it's so hard to explain.
Speaker 1 (04:29):
If there's same trouble, Yes, or.
Speaker 3 (04:32):
I wish I could help myself.
Speaker 1 (04:35):
That boy where he's always a boy wherever we go.
Speaker 3 (04:38):
What can I do?
Speaker 4 (04:40):
Every time I see a young man of that age,
I'm heart will come.
Speaker 1 (04:44):
Please. I hope returning to Paris, where our happiness really began,
would remind us only of the best memories. It was
a mistake and.
Speaker 3 (04:56):
Being stupid, and it was never likely to be stupid.
Speaker 5 (05:00):
I've kept it all inside so long.
Speaker 3 (05:03):
To myself, so many years.
Speaker 1 (05:05):
That was wrong. I am your husband. We came to
Paris to be happy.
Speaker 3 (05:12):
I must tell you everything to day now cons so
that we can.
Speaker 7 (05:17):
I have never asked you because I was as young
as that boy in the cafe, younger probably eighteen.
Speaker 3 (05:26):
My first husband gone to marry he was much older
than I. How tall he was, and everyone said, what
a handsome couple. Well, I didn't know. I was so innocent.
Speaker 4 (05:35):
I didn't know he was.
Speaker 3 (05:36):
Tall only in centimeters and everything else. He was small,
so very small, and petty and degrading too.
Speaker 1 (05:47):
It is I who wish it, my dear Josephine. There
are certain codes of conduct expected of the title. You
are the daughter of a count, and you married a count.
We are some one the slightest shadowed, this slightest familiar
with the townspeople. He's out of play.
Speaker 3 (06:02):
But I only said good morning. When the butcher take
this happening in the church.
Speaker 5 (06:05):
Surely you don't have some to you?
Speaker 1 (06:07):
Perhaps, but I need not tell you what familiarity breeds.
There are certain liberties a lady of your station cannot
indulge in. You may not go rowing on the lake.
You may not walk in the public park where you
might be seen by the refresh. You may not, by
so much as an eyebrow, acknowledge the presence of any
stranger in church or in the town.
Speaker 4 (06:27):
But surely in church we're all equal before God.
Speaker 3 (06:30):
Everything over there and teaches me that.
Speaker 1 (06:32):
But then we will hear no more of this. Now
you may ring for your maid, address yourself for the day,
and let me see some progress on that embroidery when
I return.
Speaker 3 (06:41):
When will that be?
Speaker 1 (06:42):
TIKOI, Josephine, you really expect me to hold myself accountable
to you. I'm joining the Duke de Lauraguay. We shall
not have rid over to the Princeton massa wals and
perhaps a little wine, And I'm spoiling.
Speaker 3 (06:56):
You, my dear.
Speaker 1 (06:58):
Don't become accustomed to asking, and how I spend my time.
If I wish you to know, I should inform you.
If you expect in my hair about me, I not
only expect, I demand.
Speaker 4 (07:09):
Since you demand, may I tell you something you do
not know about me?
Speaker 1 (07:14):
We'll then be quick about it.
Speaker 3 (07:15):
We are going to have a baby, is that true?
Speaker 1 (07:19):
I'm afraid, so we're afraid. I shall have the best
midwife and doctor for you, my baby, So be it's nothing.
Speaker 3 (07:27):
To hear constigue the speech, which has much truth in it.
Speaker 1 (07:31):
Wait until I tell the Duke and my soul. They'll
be envious. I dare say they'd lack an air, But
I am the only one around here able to produce one.
Speaker 3 (07:43):
Right, A little one, stop crying? Please?
Speaker 1 (07:55):
What have.
Speaker 5 (07:58):
You do?
Speaker 3 (07:58):
So? Why do I ask you? Oh? No, no, no,
little one?
Speaker 7 (08:06):
What's the matter of colors?
Speaker 3 (08:09):
He needs changing?
Speaker 1 (08:10):
That is all?
Speaker 3 (08:11):
How cub have you?
Speaker 5 (08:12):
How did you know? We were eleven children, Madame?
Speaker 8 (08:15):
When I was ten, I took care of my two.
Speaker 7 (08:17):
Baby brothers, where my mother and father worked in the fields.
How proud they would have been to see me attending
to Madame in this great Chuttau.
Speaker 3 (08:25):
But has they been dead a long time?
Speaker 7 (08:27):
The plague took them the year I came to be
discoverery made for the count to your father.
Speaker 3 (08:31):
A sad year for all of us. My parents were
also taken. Whilst and title does not stay the hand
of God. I miss my parents also?
Speaker 1 (08:42):
Is he not beautiful?
Speaker 9 (08:43):
See he's going to sleep?
Speaker 5 (08:46):
Such a friend?
Speaker 1 (08:49):
I table order up down my heart world. Well, ladies,
how wizard with you? That child is sleep thing for
a change? They flesh Mason Claret, Yes, sir, or a
day for a time, magnificent cemonial.
Speaker 3 (09:13):
You freaking.
Speaker 1 (09:16):
One. There's nothing to bab is becoming a muisance.
Speaker 5 (09:21):
He's been glu.
Speaker 3 (09:24):
And it's running away with your tongue.
Speaker 1 (09:26):
The baby is taking entirely too much precedence in his household,
too much.
Speaker 5 (09:35):
Tuber.
Speaker 1 (09:37):
Here is your.
Speaker 8 (09:39):
H's asleep on the floor, and try to put into
the help me, Nor can I he's such a big man.
Speaker 3 (09:53):
Your clock and the ask the woman look at him.
Speaker 5 (09:57):
We can see.
Speaker 9 (10:00):
Sorry, let us take the baby and it's a pram and.
Speaker 5 (10:03):
Going to the public park.
Speaker 3 (10:05):
I've never been to the park. Should we do not
say your means to leave? The master lying here on
the floor.
Speaker 10 (10:11):
Why not he came to it by right side?
Speaker 4 (10:20):
Oh, how wonderful it is to walk like anyone else
under the trees with my baby.
Speaker 1 (10:26):
How free but.
Speaker 3 (10:28):
Home I feel like such a prisoner. And Madame is
being very frank with me. I am only her maid?
Or who else do I have to talk with?
Speaker 4 (10:36):
You're a woman, Rose, my only friend when my father
was alowed a shape, always rhining.
Speaker 3 (10:43):
With music and laughter.
Speaker 4 (10:46):
But when the plague took him and mamma, it took
all his friends, all of a sudden her completely alone.
Speaker 3 (10:53):
Well can you sit on this bench, serden you madame?
And then one day at church this tall man spoke
to me. He knew Papa, he said, and could he
also make his condolences? Oh, how spathetic he was? Then
how kind you lonely? He pursued me, And at last
week we were married. Where all is kindness go, no
(11:20):
money can harm? Whether that can help? Broadly?
Speaker 1 (11:22):
I beg your pardon, ladies, sought the imperson. Yeah, yes, monsieur,
What is it? I have lost my way? I am
unfamiliar to this park, and I would like to find
the location of the Prefect of Police.
Speaker 8 (11:33):
The Prefect of Police.
Speaker 3 (11:35):
No, I have never had occasion to go there.
Speaker 4 (11:37):
Are you an escape convict who wishes to give himself up.
Speaker 1 (11:40):
Monsieur, you are joking, are you not?
Speaker 5 (11:44):
How did you know you are?
Speaker 1 (11:46):
No? Not? Not a convict. No, I am a prisoner
of war, one of your Napoleon's victims. I am don
bagas Heredia.
Speaker 3 (11:55):
I know the family.
Speaker 4 (11:57):
My uncle was ambassador the court of King Joseph. That
Soradi is a noble family.
Speaker 1 (12:01):
I was in Madrid when Napoleon took the city, and now,
if you please, the Prefect of Police, I have given
my words a report every day while I am required
to lodge in your town.
Speaker 7 (12:13):
You see the iron date at the end of the past.
You go through it and you will be on the
Avenue Saint Marie.
Speaker 3 (12:18):
Turn to your left some fifty meters and where the
French flag is lying is the Marie and the police.
Speaker 1 (12:24):
Thank you, and I hope I have not disturbed the
peace of your lovely day. God be with you good day.
Speaker 3 (12:36):
What did you think of the gentleman, so quiet, so
so noble.
Speaker 5 (12:41):
Did you notice his eyes like two flames?
Speaker 1 (12:46):
Madam?
Speaker 3 (12:47):
You looked pale. Are you not well? Oh? Yes, I'm
well and very well. The sun is going down. We
should return. Strange I would have said, the sun is
rising pardo. Yes, we must go home.
Speaker 1 (13:12):
I'll cour leap with an endless cattle warning. Jose wake up,
what is it where you're here? Where's the nurse?
Speaker 3 (13:25):
I'll go and look the nurse had to go to
visit sick mother, sick mother.
Speaker 1 (13:31):
I've had enough, Josephine, Tomorrow we should move on my
pose upstairs. Your father's sweet bed, shirts, boots, everything.
Speaker 3 (13:43):
It was good of you to attend masks with me
this morning, Rose, I should go more often. We sit here.
It's not that young Spanish gone head be Men in
the park.
Speaker 5 (13:57):
Must stay accomplished.
Speaker 3 (13:59):
He's reading the book. But why do you say accomplished?
The book is a matter.
Speaker 5 (14:06):
Matter.
Speaker 9 (14:08):
He's rest his eyes looking.
Speaker 3 (14:10):
Oh goodness, he's smiling. Oh madame, you are smiling too.
Let us be silent and pray. Perhaps our prayers will
be answered.
Speaker 1 (14:23):
Ah. A great French writer, Honor de Balzac, upon whose
tale this the Count is based. Once both cruelty and
fear shake hands together, cruelty and fear together. Let me
(14:43):
explain the strange viciousness the count demonstrates towards his young wife,
which oil the wheels of fate towards what happened next?
I shall return in a moment to bring you act too.
What could be more tragic for a young woman of
the nineteenth century than to see a life has cheated
(15:05):
her and there is no way out the boors. Separation,
what we in our century take for granted was unheard
of in those days. And then to nail her to
her unhappiness, a stranger enters her life. Whose eyes, she
tells us, speak of fire. To feel, to love, to
(15:26):
devote oneself to someone is the life of a woman,
says our authobotic, but not to be able to love?
Is there any escape?
Speaker 5 (15:37):
Let's find out?
Speaker 3 (15:38):
Do you remember the first day we walked in this
pot two months ago? The leaves they're turning now. You
were willing the baby that day, not I. And there's
the bench we sat, madam.
Speaker 7 (15:49):
Do you know that every time we passed this spot
you always point to it and say, there is the
bench we sat on.
Speaker 3 (15:57):
Oh, how sad I was that day? My life was older?
It's been such a good friend. Road. Can we turn here?
Speaker 7 (16:05):
I keep forgetting The gates are this way, the boat
house that way.
Speaker 3 (16:09):
What is the hour?
Speaker 1 (16:11):
Uh?
Speaker 3 (16:11):
Little before too?
Speaker 1 (16:13):
We are in time.
Speaker 3 (16:16):
The usual one hour of madame. Yes, the usual, precious
one hour. We have walked it out to the minute.
The little counter andie up very slowly, two full circles, and.
Speaker 1 (16:27):
That is an hour.
Speaker 8 (16:30):
We shall be waiting at the big chestnut tree.
Speaker 3 (16:33):
But I didn't see his boat. What time did you say?
Speaker 1 (16:37):
It was?
Speaker 3 (16:38):
Just to madame? Where is he? But he's always here waiting.
I I must go and talk to the boat keeper.
Speaker 5 (16:44):
Perhaps he's seen him.
Speaker 3 (16:45):
Is that wise? You will have to part your veil
to talk to him. You may be recognized.
Speaker 1 (16:49):
I'll be careful, ah the veil, lady, Your rest brother
left word he cannot come to day to the pity
for I say that very fine little boot for you,
even the art of you.
Speaker 3 (17:06):
Let's know what the message about Friday?
Speaker 5 (17:09):
Pat mission? Mission?
Speaker 1 (17:12):
No no heard mission nothing no no no. I think
I think there was something, But what was?
Speaker 3 (17:21):
Please try to remember?
Speaker 5 (17:23):
Oh, yes, your brother he left the package for you.
I know just where I put him.
Speaker 1 (17:30):
Here.
Speaker 3 (17:32):
It is a little package. Thank you very much.
Speaker 1 (17:35):
Now, if we for ever wish to leave anything in
my care for your brother and you only too, I
must go.
Speaker 5 (17:43):
Thank you.
Speaker 1 (17:43):
You are most welcome, my lady. Or what a Friday
should I reserve? About Fio? Three hard as usual, how.
Speaker 3 (17:53):
Goodly? Oh wait, wait, madame od it he left this
left this with about first off? Oh oh, how beautiful crucis?
Speaker 5 (18:09):
Which is a dream?
Speaker 3 (18:10):
That that black wood?
Speaker 1 (18:11):
What is it?
Speaker 5 (18:12):
Ebony?
Speaker 3 (18:14):
The Christ is in silver? From where do you hide it?
Speaker 5 (18:18):
Hide it?
Speaker 3 (18:19):
I should say, no, I shall. I shall place it
on the wall above my bed. But supposing the count,
will you not ask where it? Can make up a story?
Speaker 5 (18:28):
Come here?
Speaker 3 (18:29):
We have almost an hour to enjoy the park and
think wishfully. I shall walk the panmurdering, dream about my
friends with the fiery eyes, and you.
Speaker 4 (18:40):
Shall dream about your fee offs coppy dream dreams while
we are awake.
Speaker 3 (18:46):
Those are the best kind.
Speaker 5 (18:55):
Lubbish, lubbesh, where are you? Roatally? Where's everybody? A bed? Sir?
Speaker 3 (19:03):
It is very late?
Speaker 5 (19:04):
Who is it?
Speaker 1 (19:06):
How's your mistress?
Speaker 3 (19:07):
He's not well? She remained in her room all day
in bed?
Speaker 1 (19:10):
Did she not get up at all?
Speaker 3 (19:12):
It is the same sickness.
Speaker 1 (19:13):
Did the doctor come?
Speaker 3 (19:15):
You can find nothing you had?
Speaker 1 (19:17):
Old boy? Here is she asleep? Perhaps I should go
in and have it? I would not suggest he'd be disturbed?
Very well. I am duculy tired myself. He had tape
of this candle, will you I can light my own
way upstairs. Good night, sir, wul what she's a week?
(19:42):
Good evening, my dear. I thought I heard you laugh.
Why are you out of bed and fully dressed? It's
such a beautiful girl. No less, madame. Why at ten
o'clock at night are you wearing such finery and a necklace?
Speaker 5 (19:59):
Pleary?
Speaker 3 (20:00):
It was very nice?
Speaker 1 (20:02):
Am I too late? Now?
Speaker 5 (20:05):
Tell me?
Speaker 1 (20:06):
Is that closet door moving? Or is it my imagination?
The closet door? Madam? It seems to me I saw
it closing. Is it your maid that was speaking to
her a moment ago? Rosalie? Are you in there? I
thought you told me your mistress had gone to bed, Rosalie?
Speaker 3 (20:24):
Is no one in that part? Did I hear you ring?
Speaker 1 (20:27):
Madame Rosalie? I could have sworn you were inside that closet.
Speaker 3 (20:33):
You wish me to help you undress? No, she does not.
Speaker 1 (20:36):
I will help her undress.
Speaker 3 (20:37):
You can go, Rosalie. I shall put in my tray
papers myself as you.
Speaker 5 (20:40):
Wish, Madam.
Speaker 1 (20:41):
Good night, good night, sir?
Speaker 5 (20:45):
What does it happened?
Speaker 3 (20:47):
But why do you walk around?
Speaker 5 (20:48):
Sir?
Speaker 3 (20:49):
Do you have to news? Are you ill?
Speaker 1 (20:51):
Madam, there is someone in that closet. Moms, Well, then
let's see for sail your hands staves me.
Speaker 4 (21:02):
Why husband, if you should find no one in there,
all will be at an end between.
Speaker 1 (21:09):
You and me as you wish no, Josephine, I will
not open it. In either event we should be parted forever.
What further reassurances do I need?
Speaker 5 (21:23):
Ah, that's crucifix over the bed.
Speaker 1 (21:28):
I cannot remember seeing this here before. I know you
are a Sunday church goer, Madame. I've often heard you
pray before retiring. Then swear to me on this crucifix
that there is nobody in there, and I shall believe you.
I will never open that door. Swear it louder, Take
it in your hands and repeat. I swear before God
(21:51):
that there is nobody in that post.
Speaker 9 (21:53):
I swear before God that there is nobody in that closet.
Speaker 5 (22:00):
Thanks will do, Hm.
Speaker 1 (22:03):
Fine piece of work, very artistically wrought. Where did you
find it.
Speaker 3 (22:12):
When the Spanish prisoners of war came to town some
time ago? He bought it from an old monk.
Speaker 1 (22:17):
Din rooting for your maid?
Speaker 5 (22:21):
What do as I say?
Speaker 3 (22:22):
But I don't need help. I don't get myself so.
Speaker 1 (22:26):
Unnotice your miraculous recovery ring again. Ah Rosalie, come over here.
I know that Giron wishes to marry you, but that
you've told him no until he becomes a master mason,
and that means the mayor, a good friend of mine,
must sign the license. I want you to go to
(22:48):
Juno's house and fetch him at this hour. Yes, yes, yes,
without delay. Tell him to bring his prowl and tools
from the coach house and bring bricks and water here
into this world home. Tell him to speak to no
one and make certain no one sees him coming here.
If you do this, I can tell you, my girl,
your fiancee will become a master mason tonight. I think
(23:17):
you have enough bricks journal and the motor seems also
in good order.
Speaker 5 (23:21):
Now I want both you.
Speaker 1 (23:24):
And Rotarie to listen carefully. You see that closet door
recessed to the wall. I want it bricked up solidly.
Understand now you won't Tomorrow morning, I shall arrange for
you to have a passport which will enable you to
go abroad England, South America, wherever you should choose. Jermont,
(23:44):
I will give you six thousand francs for your journey.
I will give you an additional six thousand, on condition
you will speak to no one ever of what you
have built for me. Tonight we shall arrange as first
step to meet in Paris, when I should give you
Rosalie ten thousand francs upon your marriage to your own.
(24:05):
This too, on the condition you hold your tongue. If not,
no wedding gift.
Speaker 5 (24:11):
Now again, Rosalie, come and.
Speaker 3 (24:22):
That's my hair.
Speaker 1 (24:23):
I want not a word spoken in this room. I'm
going to fetch some wine. I shall leave this door
to the hall open.
Speaker 9 (24:29):
I warn you, I'll give you a thousand francs a
mare if you will tell you woman to leave a
crack there at the bottom. Of course, madam, friends, take
no money.
Speaker 1 (24:41):
That was right, someone speaks.
Speaker 3 (24:44):
It would go faster if Rosalie would assist.
Speaker 1 (24:47):
Her to you.
Speaker 3 (24:48):
I will stir the mos.
Speaker 1 (25:03):
Very fine worst your own mm eight o'clock. Yes, splendid morning,
very careful, good work. I shall certainly attest to the mayor.
You are a qualified master.
Speaker 3 (25:15):
May messy, monsieur.
Speaker 1 (25:17):
I'm off to the Mayor. As you all come with me.
We shall get your certificates and passport. Oh crucific spare
I borrow it for a few hours, My dear a duvivier,
As you said, this way you bought it.
Speaker 5 (25:33):
He will find out.
Speaker 3 (25:34):
What does it matter?
Speaker 4 (25:35):
It will take time to go there, and more time
at the mayor. Now quick, closely, there's a pickaxe leaning
against the garden.
Speaker 3 (25:42):
Here will go and fetch it. How can one hear this?
Speaker 5 (25:51):
To be sure?
Speaker 3 (25:52):
Myself always well, kill us be hurt, all will soon
be well. I good, so he left the crack, lose
water down that mortar, and after which will replace everything.
Speaker 5 (26:07):
I watched it.
Speaker 3 (26:08):
I know how to do it. Good one break already, pride,
Oh little quick day. How surprised the count would be?
Could he see me now?
Speaker 1 (26:20):
Oh no, madam, I'm not surprised at all. Lay the
Countess upon her bed. Gracious, would you look at that?
Speaker 5 (26:31):
You all, there.
Speaker 1 (26:32):
Appears to be a slight defect in your masterly accomplishment.
You will promise the position of master mason. I would
immediately fall to and make masterly repairs, especially if one's
very future depended upon it. Yes, the count had tricked
(26:54):
his wife, laid a trap for baited it, and she
had been caught in it. However, never underestimate the self
control of a desperate woman. Josephine, the young Countess, had
far from given in or given up. Stay with us
for the extraordinary third act, which will begin in just
a moment. There is a women spring almost always from
(27:21):
their faith in the good or their confidence in the creup.
Think about that, and had you known such a woman
as a young countess, could you not in your heart
forgive her? In the light of today? Hers was but
an innocent friendship with a mysterious Spanish nobleman. The Count Demarray, unforgiving, unforgetting,
(27:43):
was a prisoner of his own revenge. As actually begins,
twenty days have passed. A cat plays with the mouth.
Good morning, just the thing. It seems to me you
are recovering. You had a bad time of it, and
so I have been faithful husband all during your indisposition,
and have never.
Speaker 5 (28:03):
Left your side.
Speaker 3 (28:07):
You have been here, Yes, I remember that, it's so
long ago. I forget what it was that happens.
Speaker 1 (28:19):
You're not the only one prayed with forgetfulness. Do you
remember old Jusivier the jeweler, talk of absolute mindedness, that
there you fainted so inexplicably I had sent for him. Look,
I said this crucifix. I understand you sold it to
my wife, don't I don't know not I he said,
(28:40):
very good work, very old too, probably from some Spanish
nobleman's private chapel.
Speaker 3 (28:46):
Don't please, no, I have good news.
Speaker 1 (28:50):
I have asked adopted to pass a visit, and I'm
hopeful he will pronounce you better come in, missile good.
I shall go out to speak with him and see
what your mistress would like for liperty divisionary.
Speaker 7 (29:09):
Oh, Madame, I'm so glad.
Speaker 5 (29:11):
Good morning.
Speaker 3 (29:13):
He looked more like yourself today.
Speaker 1 (29:16):
What is it?
Speaker 3 (29:18):
Where is my baby? The closet? What you do? Don't
upset yourself. Everything is fine my day. You bring him
to me. He has been well taken care of.
Speaker 1 (29:29):
Do not worry.
Speaker 3 (29:31):
You had a very high favor of Madame. I could
do nothing, But how long have I been like this?
Tomorrow it will be three weeks and and the world
you all made.
Speaker 7 (29:41):
Oh madam, it is terrible, all the bricks in place,
the way he repaired it.
Speaker 1 (29:46):
You don't mind us so troubled.
Speaker 3 (29:48):
You had no idea what was happening, and.
Speaker 7 (29:51):
Were he had left the town to keep his part
of the bargain, has no none of not since the
morning you think it, but doctor King said you should rest.
Every day you would wake up and look at the
closet and then you could not get out of bed.
Speaker 5 (30:04):
Twenty days.
Speaker 3 (30:05):
Twenty days gone from my mind? Where is your feeling?
He was going to leave a little hole for me?
Speaker 7 (30:13):
I said to you, Madam, he is abroad, and did he.
Speaker 3 (30:16):
Bring you my two texts? Ry's good, my dam.
Speaker 7 (30:21):
Tell me the jal did he will twelve thousand francs.
We could not turn our back from that and ten
more than we marry. Besides, if we were to tell
the authority, account said we would be charged being accessories
to the fact it was fucked.
Speaker 5 (30:39):
Over.
Speaker 1 (30:45):
The doctor's mother look said.
Speaker 3 (30:53):
Little where there wants to see anybody? Please count and
made YouTube.
Speaker 1 (30:59):
Of course kill me. I thought she was unamend, but
she has not seen much in the past few weeks, irrational.
Speaker 3 (31:06):
I cannot think what possessed You can't say marry. You
should have sent to me long before.
Speaker 1 (31:10):
Now go both of you, Yes, certainly.
Speaker 3 (31:16):
Madam Joseph.
Speaker 5 (31:17):
Then you remember me.
Speaker 3 (31:19):
That's a boy I attend to jose your father and mother.
Speaker 1 (31:23):
You can trust me, Madame.
Speaker 4 (31:26):
Medicine can only go so far.
Speaker 5 (31:28):
It is you who must help us? And in that
way we can help you.
Speaker 1 (31:33):
Afraid.
Speaker 3 (31:35):
I did not wish to remain in this house afraid
of what you afraid of my husband?
Speaker 5 (31:41):
I must me?
Speaker 3 (31:44):
Who will you help me?
Speaker 4 (31:45):
Oh?
Speaker 1 (31:45):
You are too weak now, Josephine, When you get your strength,
that that is all they should concern you.
Speaker 3 (31:51):
See it, lose breath and moving. I cannot look anymore.
And then when I look, oh, please help me help. Yeah,
that's closer. Over manhood is such crucifies. Tell you get
(32:12):
in the wall, give it to me. Use, Oh, I'm
going to keep it hidden under my bed cloth.
Speaker 6 (32:21):
That will be our secret, of course, madam, let me
talk to your husband.
Speaker 3 (32:26):
But there's no time to do it still right away,
right away, and then all will be well. Certainly, do
not worry.
Speaker 1 (32:40):
Where the hell is she? What do you think?
Speaker 6 (32:43):
In all truth, monsieur, I see her for her Her
post is weak, her mind wonders.
Speaker 1 (32:49):
I have tried my best to give up come first
days and nights.
Speaker 6 (32:52):
Yes, we must move her to the hospital. There she
will have professional care.
Speaker 5 (32:58):
But schulicormp.
Speaker 6 (32:59):
Has anything extraordinary happened.
Speaker 5 (33:01):
To her in the past month?
Speaker 3 (33:03):
An apprehension tight, some sudden despair less me.
Speaker 1 (33:07):
No, I can't imagine what it could really, Doctor, will
be the most quiet and judicious life. Nothing but peace
and calm rules in this hus I see well, I shall.
Speaker 6 (33:19):
Make the arrangements to have her brought to the hospital.
Speaker 1 (33:22):
Today, as you think best, Doctor.
Speaker 10 (33:33):
I never thought I should live, the state said the
day you must call yourself, mademoiselle.
Speaker 1 (33:39):
It does no good to dwell upon unhappiness a young wife.
Speaker 4 (33:44):
All she wondered was a little girl, that they shall
sicken and pass away, even in a hospital.
Speaker 3 (33:51):
It was a shock to us all. No, the night
she was gone, was there no way of saving her.
Speaker 1 (33:56):
One must have the will to leave.
Speaker 3 (33:59):
How long have the take to the cemetery?
Speaker 1 (34:01):
Not long?
Speaker 8 (34:02):
Look at him sat the count.
Speaker 3 (34:06):
Up there in that carriage, the head raining the horses.
How stiffly he sits in the coachman's seat. I mean
it was his wish to drive the castle coach alone.
He had a black heart. Why do you say that, mademoiselle.
Speaker 1 (34:20):
I have my reason.
Speaker 11 (34:22):
He is more trouble than he barkened, For he did
not wish even to have a final look at her body.
He told me to seal the coffin, And then this
morning he would not let the poor bearers touch it.
Speaker 6 (34:34):
He and die alone play speak in his carriage.
Speaker 7 (34:36):
I believe he is mad polus, But a mad person
would have a white hole beside him in the coachman's seat.
Speaker 10 (34:41):
Imagine taking a gun.
Speaker 1 (34:44):
To one of the white mademoiselle. There are too many
questions and too few answers. Stop his head, Count the cow,
can you hear me cold?
Speaker 5 (35:04):
Oh?
Speaker 6 (35:05):
My god, oh god, I knew it so I knew
that the rifle must have thrown off accidentally.
Speaker 1 (35:11):
The horses went wild.
Speaker 5 (35:13):
I was sure the count's nest is broken.
Speaker 1 (35:22):
Well, now, my dear, do you feel better telling it
all to me?
Speaker 5 (35:26):
That it is not all?
Speaker 3 (35:28):
And who better than you to know that?
Speaker 1 (35:31):
Said? I recall for us the end of your story.
Speaker 3 (35:33):
Yes, that's the part I most like to hear.
Speaker 1 (35:36):
The countess swore truthfully on the crucifix. But she said
there was no one within the closet, for she knew
her house well. As a child. She had played hide
and seek in that very room of the chateau, and
knew there was a false panel at the rear of
the closet, and in back of that a secret door
(35:56):
leading out to the garden. They had only wanted to
make certain the young nobleman had found it and escaped.
When the Count caught her chopping at the brick wall
and he had escaped, of course, he had no idea.
The Count deliberately set about to torture her. Being a
man of some honor of his spaniard's house, he could
not return. The Countess lived through those three weeks, and
(36:21):
to save her own life, arranged.
Speaker 5 (36:23):
To be taken to the hospital.
Speaker 3 (36:26):
Doctor the boy, please sit money close.
Speaker 6 (36:31):
I appeal to you anything, of course, Jersesey.
Speaker 4 (36:35):
I believe I am not to a wicked, insane man
who would stop nothing to inherit my lands, my wealth, everything.
There is nothing I can say to those.
Speaker 3 (36:44):
Of the law which would help me. I'd decided to
forego all my worldly possessions. I will give them up
for my freedom. What can I do arrange for my death?
Speaker 5 (36:58):
Joessy?
Speaker 3 (37:00):
What are you saying now?
Speaker 4 (37:01):
I know to die here who had not enough money
for her respectable funeral, but one of those unfortunates in a.
Speaker 3 (37:06):
Coffin in my name. I don't understand. If I leave
this hospital and return home, I am as good as dead.
He will see to that.
Speaker 4 (37:16):
What are you, saying, tell my husband, I have died
seven days a woman in a decent grave, believing it
to be me.
Speaker 3 (37:25):
I don't ask it of any doctor. I beg it
of the only man I can trust, as much as
if you were my own father.
Speaker 1 (37:36):
I'm sorry it was done.
Speaker 3 (37:38):
Twenty years ago.
Speaker 1 (37:40):
We came here to this same little hotel from where
to the church or some of midline, and were married.
Speaker 4 (37:47):
Everything it was black turned white where there was one's darkness,
My dearest.
Speaker 3 (37:52):
Colors, now there was light.
Speaker 1 (37:54):
Now, my darling, surely you can let it fast rest.
Speaker 3 (37:58):
No, I cannot. All these years we stepped from my son.
Speaker 5 (38:02):
Where is he?
Speaker 3 (38:05):
When I saw that boy in the cafe brought everything back?
Speaker 1 (38:08):
Then we must return there. Come along. Let us not
waste a moment. I shall ask the proprietor that boy
here this morning. Yes, yes, the young was his name,
Hotly Shan. When my wife and I were at that table,
he was talking with you. Funny, you should got my
(38:29):
attention to him. He was asking who you were.
Speaker 3 (38:32):
Then we come here regularly, oh.
Speaker 1 (38:35):
Three times a week for breakfast coffee. Let me see. Yes,
you will be here eight o twelve in the morning
the day after tomorrow.
Speaker 3 (38:46):
So shall we be here at.
Speaker 1 (38:49):
That time, and so our curtain descent, but not ending
the story for all times, rather with a hope that
after twenty years, Countess Josephine, now happily married to a
(39:11):
Spanish Flandie, will perhaps be reunited with her own sons.
I shall return with a PostScript in a moment. All
human power is a compound of time and patience. Honor
(39:33):
head of ball Tax, and to him our thanks for
writing this tale. Time and patience did reunite the Countess
with their own sons, shuff and you should know that
it pleased her that he had no liking for gambling
or hunting. Young Shaw only interested me with a search
for knowledge with which he could help others. And here
ends our story. Our cast included Marion Seldy's, ROBERTA. Maxwell,
(39:56):
William Griffith, Court Benson, and Russell Horton. Higher production was
under the direction of Hymond Brown. Radio Mystery Theater were
sponsored in part by Buick Motor Division and True Value
Hardware Stores.
Speaker 3 (40:11):
This is e. G.
Speaker 1 (40:11):
Marshall inviting you to return to our Mystery Theater for
another adventure in the macabre. Until next time, Pleasant Stream
CBS Radio Mystery Theater presents. Come in. Welcome. I'm e. G. Marshall.
(00:26):
Today we go back to the middle of the nineteenth century.
We're in Paris. Twenty years have passed since Napoleon Bonaparte
ruled half of Europe. The peasants are still poor, but
the privileged are Fewer. Changes are in the air not, however,
in what the people live by believed in. To be
(00:48):
trusted is still a greater compliment than to be loved.
To be faithful is the rock on which all marriages
are founded. A man might look elsewhere, but a woman.
Speaker 2 (01:03):
Never, Madame, I wish to know, is there someone hiding here?
No monsieur, supposing I had to open that closet door
to see for myself.
Speaker 3 (01:13):
Husband, if you should find no one in there, all
will be over between us.
Speaker 1 (01:20):
You'll threaten me.
Speaker 4 (01:21):
If there is no truth between us, there can be
no marriage.
Speaker 2 (01:25):
Swear to me there is no one in there, and
I should believe you.
Speaker 3 (01:30):
Swear I swear.
Speaker 1 (01:42):
Our mystery drama The Countess, adapted from the Honorary of
Balzac classic, was written especially for the Mystery Theater by
Jerry Keene and stars Marion Soldi's and ROBERTA. Maxwell. It
is sponsored in part by True Value hardware stores in
the Buick Mortar division. I'll be back shortly with that
(02:03):
one today. Our guide to a strange mystery is the
celebrated French author Honore de Balzac. It is said he
wrote from life, peopled his novels and stories with his
friends and neighbors. Certainly, a no more extraordinary couple begin
(02:27):
his story than the beautiful lady and handsome gentleman of
middle years. Seated in a Left Bank cafe early one morning,
Wrapped in each other, they do not notice they are
being observed by young Charles, a student at the university,
who frequents that cafe for his breakfast. The proprietor sets
down a small cup of coffee and wipes his hands
(02:48):
on his aprow. Charles, have brought you your usual thank you?
Who are they?
Speaker 5 (02:56):
Who?
Speaker 1 (02:56):
Who are who? That beautiful woman and that man with
a hand skin and the gray hair at the corner table,
Monsieur madame, I've only just moved into the neighborhood. I've
not yet lone their nighbors. I must say it to
their age to be holding hands and looking into each
other's eyes. You're in love is only for the very
(03:17):
young twenty one years like you shud, of course not.
But that woman I know her somewhere long ago was something.
She's not so good to drink your coffee so quickly?
Speaker 5 (03:31):
Are you off already?
Speaker 1 (03:32):
I must? I'm late for class.
Speaker 3 (03:34):
I wish, I.
Speaker 6 (03:36):
Wish I could meet them, the lady particularly, she's.
Speaker 1 (03:40):
Ould enough to be your mother, Momberdi my mother, but
not likely. I have been an orphan for as long
as I can remember all of what did you see
that young man cordor everyone who just ran out of
the cafe.
Speaker 3 (03:54):
Yes, don't be angry with me, but I must leave
here right away.
Speaker 1 (03:59):
My god, yes, only just sat down.
Speaker 5 (04:01):
Oh, do not argue it.
Speaker 3 (04:03):
I shall tell you all the women are back at
the hotel.
Speaker 5 (04:09):
I love this view.
Speaker 3 (04:11):
I don't think one chimney has changed on one rooftop
in the last twenty years. Did you bring up some
bread for the pigeons?
Speaker 1 (04:18):
Breadth of it, Josephine, You didn't drag me back to
our room to talk about feeding the pigeon.
Speaker 3 (04:26):
Oh, it's so hard to explain.
Speaker 1 (04:29):
If there's same trouble, Yes, or.
Speaker 3 (04:32):
I wish I could help myself.
Speaker 1 (04:35):
That boy where he's always a boy wherever we go.
Speaker 3 (04:38):
What can I do?
Speaker 4 (04:40):
Every time I see a young man of that age,
I'm heart will come.
Speaker 1 (04:44):
Please. I hope returning to Paris, where our happiness really began,
would remind us only of the best memories. It was
a mistake and.
Speaker 3 (04:56):
Being stupid, and it was never likely to be stupid.
Speaker 5 (05:00):
I've kept it all inside so long.
Speaker 3 (05:03):
To myself, so many years.
Speaker 1 (05:05):
That was wrong. I am your husband. We came to
Paris to be happy.
Speaker 3 (05:12):
I must tell you everything to day now cons so
that we can.
Speaker 7 (05:17):
I have never asked you because I was as young
as that boy in the cafe, younger probably eighteen.
Speaker 3 (05:26):
My first husband gone to marry he was much older
than I. How tall he was, and everyone said, what
a handsome couple. Well, I didn't know. I was so innocent.
Speaker 4 (05:35):
I didn't know he was.
Speaker 3 (05:36):
Tall only in centimeters and everything else. He was small,
so very small, and petty and degrading too.
Speaker 1 (05:47):
It is I who wish it, my dear Josephine. There
are certain codes of conduct expected of the title. You
are the daughter of a count, and you married a count.
We are some one the slightest shadowed, this slightest familiar
with the townspeople. He's out of play.
Speaker 3 (06:02):
But I only said good morning. When the butcher take
this happening in the church.
Speaker 5 (06:05):
Surely you don't have some to you?
Speaker 1 (06:07):
Perhaps, but I need not tell you what familiarity breeds.
There are certain liberties a lady of your station cannot
indulge in. You may not go rowing on the lake.
You may not walk in the public park where you
might be seen by the refresh. You may not, by
so much as an eyebrow, acknowledge the presence of any
stranger in church or in the town.
Speaker 4 (06:27):
But surely in church we're all equal before God.
Speaker 3 (06:30):
Everything over there and teaches me that.
Speaker 1 (06:32):
But then we will hear no more of this. Now
you may ring for your maid, address yourself for the day,
and let me see some progress on that embroidery when
I return.
Speaker 3 (06:41):
When will that be?
Speaker 1 (06:42):
TIKOI, Josephine, you really expect me to hold myself accountable
to you. I'm joining the Duke de Lauraguay. We shall
not have rid over to the Princeton massa wals and
perhaps a little wine, And I'm spoiling.
Speaker 3 (06:56):
You, my dear.
Speaker 1 (06:58):
Don't become accustomed to asking, and how I spend my time.
If I wish you to know, I should inform you.
If you expect in my hair about me, I not
only expect, I demand.
Speaker 4 (07:09):
Since you demand, may I tell you something you do
not know about me?
Speaker 1 (07:14):
We'll then be quick about it.
Speaker 3 (07:15):
We are going to have a baby, is that true?
Speaker 1 (07:19):
I'm afraid, so we're afraid. I shall have the best
midwife and doctor for you, my baby, So be it's nothing.
Speaker 3 (07:27):
To hear constigue the speech, which has much truth in it.
Speaker 1 (07:31):
Wait until I tell the Duke and my soul. They'll
be envious. I dare say they'd lack an air, But
I am the only one around here able to produce one.
Speaker 3 (07:43):
Right, A little one, stop crying? Please?
Speaker 1 (07:55):
What have.
Speaker 5 (07:58):
You do?
Speaker 3 (07:58):
So? Why do I ask you? Oh? No, no, no,
little one?
Speaker 7 (08:06):
What's the matter of colors?
Speaker 3 (08:09):
He needs changing?
Speaker 1 (08:10):
That is all?
Speaker 3 (08:11):
How cub have you?
Speaker 5 (08:12):
How did you know? We were eleven children, Madame?
Speaker 8 (08:15):
When I was ten, I took care of my two.
Speaker 7 (08:17):
Baby brothers, where my mother and father worked in the fields.
How proud they would have been to see me attending
to Madame in this great Chuttau.
Speaker 3 (08:25):
But has they been dead a long time?
Speaker 7 (08:27):
The plague took them the year I came to be
discoverery made for the count to your father.
Speaker 3 (08:31):
A sad year for all of us. My parents were
also taken. Whilst and title does not stay the hand
of God. I miss my parents also?
Speaker 1 (08:42):
Is he not beautiful?
Speaker 9 (08:43):
See he's going to sleep?
Speaker 5 (08:46):
Such a friend?
Speaker 1 (08:49):
I table order up down my heart world. Well, ladies,
how wizard with you? That child is sleep thing for
a change? They flesh Mason Claret, Yes, sir, or a
day for a time, magnificent cemonial.
Speaker 3 (09:13):
You freaking.
Speaker 1 (09:16):
One. There's nothing to bab is becoming a muisance.
Speaker 5 (09:21):
He's been glu.
Speaker 3 (09:24):
And it's running away with your tongue.
Speaker 1 (09:26):
The baby is taking entirely too much precedence in his household,
too much.
Speaker 5 (09:35):
Tuber.
Speaker 1 (09:37):
Here is your.
Speaker 8 (09:39):
H's asleep on the floor, and try to put into
the help me, Nor can I he's such a big man.
Speaker 3 (09:53):
Your clock and the ask the woman look at him.
Speaker 5 (09:57):
We can see.
Speaker 9 (10:00):
Sorry, let us take the baby and it's a pram and.
Speaker 5 (10:03):
Going to the public park.
Speaker 3 (10:05):
I've never been to the park. Should we do not
say your means to leave? The master lying here on
the floor.
Speaker 10 (10:11):
Why not he came to it by right side?
Speaker 4 (10:20):
Oh, how wonderful it is to walk like anyone else
under the trees with my baby.
Speaker 1 (10:26):
How free but.
Speaker 3 (10:28):
Home I feel like such a prisoner. And Madame is
being very frank with me. I am only her maid?
Or who else do I have to talk with?
Speaker 4 (10:36):
You're a woman, Rose, my only friend when my father
was alowed a shape, always rhining.
Speaker 3 (10:43):
With music and laughter.
Speaker 4 (10:46):
But when the plague took him and mamma, it took
all his friends, all of a sudden her completely alone.
Speaker 3 (10:53):
Well can you sit on this bench, serden you madame?
And then one day at church this tall man spoke
to me. He knew Papa, he said, and could he
also make his condolences? Oh, how spathetic he was? Then
how kind you lonely? He pursued me, And at last
week we were married. Where all is kindness go, no
(11:20):
money can harm? Whether that can help? Broadly?
Speaker 1 (11:22):
I beg your pardon, ladies, sought the imperson. Yeah, yes, monsieur,
What is it? I have lost my way? I am
unfamiliar to this park, and I would like to find
the location of the Prefect of Police.
Speaker 8 (11:33):
The Prefect of Police.
Speaker 3 (11:35):
No, I have never had occasion to go there.
Speaker 4 (11:37):
Are you an escape convict who wishes to give himself up.
Speaker 1 (11:40):
Monsieur, you are joking, are you not?
Speaker 5 (11:44):
How did you know you are?
Speaker 1 (11:46):
No? Not? Not a convict. No, I am a prisoner
of war, one of your Napoleon's victims. I am don
bagas Heredia.
Speaker 3 (11:55):
I know the family.
Speaker 4 (11:57):
My uncle was ambassador the court of King Joseph. That
Soradi is a noble family.
Speaker 1 (12:01):
I was in Madrid when Napoleon took the city, and now,
if you please, the Prefect of Police, I have given
my words a report every day while I am required
to lodge in your town.
Speaker 7 (12:13):
You see the iron date at the end of the past.
You go through it and you will be on the
Avenue Saint Marie.
Speaker 3 (12:18):
Turn to your left some fifty meters and where the
French flag is lying is the Marie and the police.
Speaker 1 (12:24):
Thank you, and I hope I have not disturbed the
peace of your lovely day. God be with you good day.
Speaker 3 (12:36):
What did you think of the gentleman, so quiet, so
so noble.
Speaker 5 (12:41):
Did you notice his eyes like two flames?
Speaker 1 (12:46):
Madam?
Speaker 3 (12:47):
You looked pale. Are you not well? Oh? Yes, I'm
well and very well. The sun is going down. We
should return. Strange I would have said, the sun is
rising pardo. Yes, we must go home.
Speaker 1 (13:12):
I'll cour leap with an endless cattle warning. Jose wake up,
what is it where you're here? Where's the nurse?
Speaker 3 (13:25):
I'll go and look the nurse had to go to
visit sick mother, sick mother.
Speaker 1 (13:31):
I've had enough, Josephine, Tomorrow we should move on my
pose upstairs. Your father's sweet bed, shirts, boots, everything.
Speaker 3 (13:43):
It was good of you to attend masks with me
this morning, Rose, I should go more often. We sit here.
It's not that young Spanish gone head be Men in
the park.
Speaker 5 (13:57):
Must stay accomplished.
Speaker 3 (13:59):
He's reading the book. But why do you say accomplished?
The book is a matter.
Speaker 5 (14:06):
Matter.
Speaker 9 (14:08):
He's rest his eyes looking.
Speaker 3 (14:10):
Oh goodness, he's smiling. Oh madame, you are smiling too.
Let us be silent and pray. Perhaps our prayers will
be answered.
Speaker 1 (14:23):
Ah. A great French writer, Honor de Balzac, upon whose
tale this the Count is based. Once both cruelty and
fear shake hands together, cruelty and fear together. Let me
(14:43):
explain the strange viciousness the count demonstrates towards his young wife,
which oil the wheels of fate towards what happened next?
I shall return in a moment to bring you act too.
What could be more tragic for a young woman of
the nineteenth century than to see a life has cheated
(15:05):
her and there is no way out the boors. Separation,
what we in our century take for granted was unheard
of in those days. And then to nail her to
her unhappiness, a stranger enters her life. Whose eyes, she
tells us, speak of fire. To feel, to love, to
(15:26):
devote oneself to someone is the life of a woman,
says our authobotic, but not to be able to love?
Is there any escape?
Speaker 5 (15:37):
Let's find out?
Speaker 3 (15:38):
Do you remember the first day we walked in this
pot two months ago? The leaves they're turning now. You
were willing the baby that day, not I. And there's
the bench we sat, madam.
Speaker 7 (15:49):
Do you know that every time we passed this spot
you always point to it and say, there is the
bench we sat on.
Speaker 3 (15:57):
Oh, how sad I was that day? My life was older?
It's been such a good friend. Road. Can we turn here?
Speaker 7 (16:05):
I keep forgetting The gates are this way, the boat
house that way.
Speaker 3 (16:09):
What is the hour?
Speaker 1 (16:11):
Uh?
Speaker 3 (16:11):
Little before too?
Speaker 1 (16:13):
We are in time.
Speaker 3 (16:16):
The usual one hour of madame. Yes, the usual, precious
one hour. We have walked it out to the minute.
The little counter andie up very slowly, two full circles, and.
Speaker 1 (16:27):
That is an hour.
Speaker 8 (16:30):
We shall be waiting at the big chestnut tree.
Speaker 3 (16:33):
But I didn't see his boat. What time did you say?
Speaker 1 (16:37):
It was?
Speaker 3 (16:38):
Just to madame? Where is he? But he's always here waiting.
I I must go and talk to the boat keeper.
Speaker 5 (16:44):
Perhaps he's seen him.
Speaker 3 (16:45):
Is that wise? You will have to part your veil
to talk to him. You may be recognized.
Speaker 1 (16:49):
I'll be careful, ah the veil, lady, Your rest brother
left word he cannot come to day to the pity
for I say that very fine little boot for you,
even the art of you.
Speaker 3 (17:06):
Let's know what the message about Friday?
Speaker 5 (17:09):
Pat mission? Mission?
Speaker 1 (17:12):
No no heard mission nothing no no no. I think
I think there was something, But what was?
Speaker 3 (17:21):
Please try to remember?
Speaker 5 (17:23):
Oh, yes, your brother he left the package for you.
I know just where I put him.
Speaker 1 (17:30):
Here.
Speaker 3 (17:32):
It is a little package. Thank you very much.
Speaker 1 (17:35):
Now, if we for ever wish to leave anything in
my care for your brother and you only too, I
must go.
Speaker 5 (17:43):
Thank you.
Speaker 1 (17:43):
You are most welcome, my lady. Or what a Friday
should I reserve? About Fio? Three hard as usual, how.
Speaker 3 (17:53):
Goodly? Oh wait, wait, madame od it he left this
left this with about first off? Oh oh, how beautiful crucis?
Speaker 5 (18:09):
Which is a dream?
Speaker 3 (18:10):
That that black wood?
Speaker 1 (18:11):
What is it?
Speaker 5 (18:12):
Ebony?
Speaker 3 (18:14):
The Christ is in silver? From where do you hide it?
Speaker 5 (18:18):
Hide it?
Speaker 3 (18:19):
I should say, no, I shall. I shall place it
on the wall above my bed. But supposing the count,
will you not ask where it? Can make up a story?
Speaker 5 (18:28):
Come here?
Speaker 3 (18:29):
We have almost an hour to enjoy the park and
think wishfully. I shall walk the panmurdering, dream about my
friends with the fiery eyes, and you.
Speaker 4 (18:40):
Shall dream about your fee offs coppy dream dreams while
we are awake.
Speaker 3 (18:46):
Those are the best kind.
Speaker 5 (18:55):
Lubbish, lubbesh, where are you? Roatally? Where's everybody? A bed? Sir?
Speaker 3 (19:03):
It is very late?
Speaker 5 (19:04):
Who is it?
Speaker 1 (19:06):
How's your mistress?
Speaker 3 (19:07):
He's not well? She remained in her room all day
in bed?
Speaker 1 (19:10):
Did she not get up at all?
Speaker 3 (19:12):
It is the same sickness.
Speaker 1 (19:13):
Did the doctor come?
Speaker 3 (19:15):
You can find nothing you had?
Speaker 1 (19:17):
Old boy? Here is she asleep? Perhaps I should go
in and have it? I would not suggest he'd be disturbed?
Very well. I am duculy tired myself. He had tape
of this candle, will you I can light my own
way upstairs. Good night, sir, wul what she's a week?
(19:42):
Good evening, my dear. I thought I heard you laugh.
Why are you out of bed and fully dressed? It's
such a beautiful girl. No less, madame. Why at ten
o'clock at night are you wearing such finery and a necklace?
Speaker 5 (19:59):
Pleary?
Speaker 3 (20:00):
It was very nice?
Speaker 1 (20:02):
Am I too late? Now?
Speaker 5 (20:05):
Tell me?
Speaker 1 (20:06):
Is that closet door moving? Or is it my imagination?
The closet door? Madam? It seems to me I saw
it closing. Is it your maid that was speaking to
her a moment ago? Rosalie? Are you in there? I
thought you told me your mistress had gone to bed, Rosalie?
Speaker 3 (20:24):
Is no one in that part? Did I hear you ring?
Speaker 1 (20:27):
Madame Rosalie? I could have sworn you were inside that closet.
Speaker 3 (20:33):
You wish me to help you undress? No, she does not.
Speaker 1 (20:36):
I will help her undress.
Speaker 3 (20:37):
You can go, Rosalie. I shall put in my tray
papers myself as you.
Speaker 5 (20:40):
Wish, Madam.
Speaker 1 (20:41):
Good night, good night, sir?
Speaker 5 (20:45):
What does it happened?
Speaker 3 (20:47):
But why do you walk around?
Speaker 5 (20:48):
Sir?
Speaker 3 (20:49):
Do you have to news? Are you ill?
Speaker 1 (20:51):
Madam, there is someone in that closet. Moms, Well, then
let's see for sail your hands staves me.
Speaker 4 (21:02):
Why husband, if you should find no one in there,
all will be at an end between.
Speaker 1 (21:09):
You and me as you wish no, Josephine, I will
not open it. In either event we should be parted forever.
What further reassurances do I need?
Speaker 5 (21:23):
Ah, that's crucifix over the bed.
Speaker 1 (21:28):
I cannot remember seeing this here before. I know you
are a Sunday church goer, Madame. I've often heard you
pray before retiring. Then swear to me on this crucifix
that there is nobody in there, and I shall believe you.
I will never open that door. Swear it louder, Take
it in your hands and repeat. I swear before God
(21:51):
that there is nobody in that post.
Speaker 9 (21:53):
I swear before God that there is nobody in that closet.
Speaker 5 (22:00):
Thanks will do, Hm.
Speaker 1 (22:03):
Fine piece of work, very artistically wrought. Where did you
find it.
Speaker 3 (22:12):
When the Spanish prisoners of war came to town some
time ago? He bought it from an old monk.
Speaker 1 (22:17):
Din rooting for your maid?
Speaker 5 (22:21):
What do as I say?
Speaker 3 (22:22):
But I don't need help. I don't get myself so.
Speaker 1 (22:26):
Unnotice your miraculous recovery ring again. Ah Rosalie, come over here.
I know that Giron wishes to marry you, but that
you've told him no until he becomes a master mason,
and that means the mayor, a good friend of mine,
must sign the license. I want you to go to
(22:48):
Juno's house and fetch him at this hour. Yes, yes, yes,
without delay. Tell him to bring his prowl and tools
from the coach house and bring bricks and water here
into this world home. Tell him to speak to no
one and make certain no one sees him coming here.
If you do this, I can tell you, my girl,
your fiancee will become a master mason tonight. I think
(23:17):
you have enough bricks journal and the motor seems also
in good order.
Speaker 5 (23:21):
Now I want both you.
Speaker 1 (23:24):
And Rotarie to listen carefully. You see that closet door
recessed to the wall. I want it bricked up solidly.
Understand now you won't Tomorrow morning, I shall arrange for
you to have a passport which will enable you to
go abroad England, South America, wherever you should choose. Jermont,
(23:44):
I will give you six thousand francs for your journey.
I will give you an additional six thousand, on condition
you will speak to no one ever of what you
have built for me. Tonight we shall arrange as first
step to meet in Paris, when I should give you
Rosalie ten thousand francs upon your marriage to your own.
(24:05):
This too, on the condition you hold your tongue. If not,
no wedding gift.
Speaker 5 (24:11):
Now again, Rosalie, come and.
Speaker 3 (24:22):
That's my hair.
Speaker 1 (24:23):
I want not a word spoken in this room. I'm
going to fetch some wine. I shall leave this door
to the hall open.
Speaker 9 (24:29):
I warn you, I'll give you a thousand francs a
mare if you will tell you woman to leave a
crack there at the bottom. Of course, madam, friends, take
no money.
Speaker 1 (24:41):
That was right, someone speaks.
Speaker 3 (24:44):
It would go faster if Rosalie would assist.
Speaker 1 (24:47):
Her to you.
Speaker 3 (24:48):
I will stir the mos.
Speaker 1 (25:03):
Very fine worst your own mm eight o'clock. Yes, splendid morning,
very careful, good work. I shall certainly attest to the mayor.
You are a qualified master.
Speaker 3 (25:15):
May messy, monsieur.
Speaker 1 (25:17):
I'm off to the Mayor. As you all come with me.
We shall get your certificates and passport. Oh crucific spare
I borrow it for a few hours, My dear a duvivier,
As you said, this way you bought it.
Speaker 5 (25:33):
He will find out.
Speaker 3 (25:34):
What does it matter?
Speaker 4 (25:35):
It will take time to go there, and more time
at the mayor. Now quick, closely, there's a pickaxe leaning
against the garden.
Speaker 3 (25:42):
Here will go and fetch it. How can one hear this?
Speaker 5 (25:51):
To be sure?
Speaker 3 (25:52):
Myself always well, kill us be hurt, all will soon
be well. I good, so he left the crack, lose
water down that mortar, and after which will replace everything.
Speaker 5 (26:07):
I watched it.
Speaker 3 (26:08):
I know how to do it. Good one break already, pride,
Oh little quick day. How surprised the count would be?
Could he see me now?
Speaker 1 (26:20):
Oh no, madam, I'm not surprised at all. Lay the
Countess upon her bed. Gracious, would you look at that?
Speaker 5 (26:31):
You all, there.
Speaker 1 (26:32):
Appears to be a slight defect in your masterly accomplishment.
You will promise the position of master mason. I would
immediately fall to and make masterly repairs, especially if one's
very future depended upon it. Yes, the count had tricked
(26:54):
his wife, laid a trap for baited it, and she
had been caught in it. However, never underestimate the self
control of a desperate woman. Josephine, the young Countess, had
far from given in or given up. Stay with us
for the extraordinary third act, which will begin in just
a moment. There is a women spring almost always from
(27:21):
their faith in the good or their confidence in the creup.
Think about that, and had you known such a woman
as a young countess, could you not in your heart
forgive her? In the light of today? Hers was but
an innocent friendship with a mysterious Spanish nobleman. The Count Demarray, unforgiving, unforgetting,
(27:43):
was a prisoner of his own revenge. As actually begins,
twenty days have passed. A cat plays with the mouth.
Good morning, just the thing. It seems to me you
are recovering. You had a bad time of it, and
so I have been faithful husband all during your indisposition,
and have never.
Speaker 5 (28:03):
Left your side.
Speaker 3 (28:07):
You have been here, Yes, I remember that, it's so
long ago. I forget what it was that happens.
Speaker 1 (28:19):
You're not the only one prayed with forgetfulness. Do you
remember old Jusivier the jeweler, talk of absolute mindedness, that
there you fainted so inexplicably I had sent for him. Look,
I said this crucifix. I understand you sold it to
my wife, don't I don't know not I he said,
(28:40):
very good work, very old too, probably from some Spanish
nobleman's private chapel.
Speaker 3 (28:46):
Don't please, no, I have good news.
Speaker 1 (28:50):
I have asked adopted to pass a visit, and I'm
hopeful he will pronounce you better come in, missile good.
I shall go out to speak with him and see
what your mistress would like for liperty divisionary.
Speaker 7 (29:09):
Oh, Madame, I'm so glad.
Speaker 5 (29:11):
Good morning.
Speaker 3 (29:13):
He looked more like yourself today.
Speaker 1 (29:16):
What is it?
Speaker 3 (29:18):
Where is my baby? The closet? What you do? Don't
upset yourself. Everything is fine my day. You bring him
to me. He has been well taken care of.
Speaker 1 (29:29):
Do not worry.
Speaker 3 (29:31):
You had a very high favor of Madame. I could
do nothing, But how long have I been like this?
Tomorrow it will be three weeks and and the world
you all made.
Speaker 7 (29:41):
Oh madam, it is terrible, all the bricks in place,
the way he repaired it.
Speaker 1 (29:46):
You don't mind us so troubled.
Speaker 3 (29:48):
You had no idea what was happening, and.
Speaker 7 (29:51):
Were he had left the town to keep his part
of the bargain, has no none of not since the
morning you think it, but doctor King said you should rest.
Every day you would wake up and look at the
closet and then you could not get out of bed.
Speaker 5 (30:04):
Twenty days.
Speaker 3 (30:05):
Twenty days gone from my mind? Where is your feeling?
He was going to leave a little hole for me?
Speaker 7 (30:13):
I said to you, Madam, he is abroad, and did he.
Speaker 3 (30:16):
Bring you my two texts? Ry's good, my dam.
Speaker 7 (30:21):
Tell me the jal did he will twelve thousand francs.
We could not turn our back from that and ten
more than we marry. Besides, if we were to tell
the authority, account said we would be charged being accessories
to the fact it was fucked.
Speaker 5 (30:39):
Over.
Speaker 1 (30:45):
The doctor's mother look said.
Speaker 3 (30:53):
Little where there wants to see anybody? Please count and
made YouTube.
Speaker 1 (30:59):
Of course kill me. I thought she was unamend, but
she has not seen much in the past few weeks, irrational.
Speaker 3 (31:06):
I cannot think what possessed You can't say marry. You
should have sent to me long before.
Speaker 1 (31:10):
Now go both of you, Yes, certainly.
Speaker 3 (31:16):
Madam Joseph.
Speaker 5 (31:17):
Then you remember me.
Speaker 3 (31:19):
That's a boy I attend to jose your father and mother.
Speaker 1 (31:23):
You can trust me, Madame.
Speaker 4 (31:26):
Medicine can only go so far.
Speaker 5 (31:28):
It is you who must help us? And in that
way we can help you.
Speaker 1 (31:33):
Afraid.
Speaker 3 (31:35):
I did not wish to remain in this house afraid
of what you afraid of my husband?
Speaker 5 (31:41):
I must me?
Speaker 3 (31:44):
Who will you help me?
Speaker 4 (31:45):
Oh?
Speaker 1 (31:45):
You are too weak now, Josephine, When you get your strength,
that that is all they should concern you.
Speaker 3 (31:51):
See it, lose breath and moving. I cannot look anymore.
And then when I look, oh, please help me help. Yeah,
that's closer. Over manhood is such crucifies. Tell you get
(32:12):
in the wall, give it to me. Use, Oh, I'm
going to keep it hidden under my bed cloth.
Speaker 6 (32:21):
That will be our secret, of course, madam, let me
talk to your husband.
Speaker 3 (32:26):
But there's no time to do it still right away,
right away, and then all will be well. Certainly, do
not worry.
Speaker 1 (32:40):
Where the hell is she? What do you think?
Speaker 6 (32:43):
In all truth, monsieur, I see her for her Her
post is weak, her mind wonders.
Speaker 1 (32:49):
I have tried my best to give up come first
days and nights.
Speaker 6 (32:52):
Yes, we must move her to the hospital. There she
will have professional care.
Speaker 5 (32:58):
But schulicormp.
Speaker 6 (32:59):
Has anything extraordinary happened.
Speaker 5 (33:01):
To her in the past month?
Speaker 3 (33:03):
An apprehension tight, some sudden despair less me.
Speaker 1 (33:07):
No, I can't imagine what it could really, Doctor, will
be the most quiet and judicious life. Nothing but peace
and calm rules in this hus I see well, I shall.
Speaker 6 (33:19):
Make the arrangements to have her brought to the hospital.
Speaker 1 (33:22):
Today, as you think best, Doctor.
Speaker 10 (33:33):
I never thought I should live, the state said the
day you must call yourself, mademoiselle.
Speaker 1 (33:39):
It does no good to dwell upon unhappiness a young wife.
Speaker 4 (33:44):
All she wondered was a little girl, that they shall
sicken and pass away, even in a hospital.
Speaker 3 (33:51):
It was a shock to us all. No, the night
she was gone, was there no way of saving her.
Speaker 1 (33:56):
One must have the will to leave.
Speaker 3 (33:59):
How long have the take to the cemetery?
Speaker 1 (34:01):
Not long?
Speaker 8 (34:02):
Look at him sat the count.
Speaker 3 (34:06):
Up there in that carriage, the head raining the horses.
How stiffly he sits in the coachman's seat. I mean
it was his wish to drive the castle coach alone.
He had a black heart. Why do you say that, mademoiselle.
Speaker 1 (34:20):
I have my reason.
Speaker 11 (34:22):
He is more trouble than he barkened, For he did
not wish even to have a final look at her body.
He told me to seal the coffin, And then this
morning he would not let the poor bearers touch it.
Speaker 6 (34:34):
He and die alone play speak in his carriage.
Speaker 7 (34:36):
I believe he is mad polus, But a mad person
would have a white hole beside him in the coachman's seat.
Speaker 10 (34:41):
Imagine taking a gun.
Speaker 1 (34:44):
To one of the white mademoiselle. There are too many
questions and too few answers. Stop his head, Count the cow,
can you hear me cold?
Speaker 5 (35:04):
Oh?
Speaker 6 (35:05):
My god, oh god, I knew it so I knew
that the rifle must have thrown off accidentally.
Speaker 1 (35:11):
The horses went wild.
Speaker 5 (35:13):
I was sure the count's nest is broken.
Speaker 1 (35:22):
Well, now, my dear, do you feel better telling it
all to me?
Speaker 5 (35:26):
That it is not all?
Speaker 3 (35:28):
And who better than you to know that?
Speaker 1 (35:31):
Said? I recall for us the end of your story.
Speaker 3 (35:33):
Yes, that's the part I most like to hear.
Speaker 1 (35:36):
The countess swore truthfully on the crucifix. But she said
there was no one within the closet, for she knew
her house well. As a child. She had played hide
and seek in that very room of the chateau, and
knew there was a false panel at the rear of
the closet, and in back of that a secret door
(35:56):
leading out to the garden. They had only wanted to
make certain the young nobleman had found it and escaped.
When the Count caught her chopping at the brick wall
and he had escaped, of course, he had no idea.
The Count deliberately set about to torture her. Being a
man of some honor of his spaniard's house, he could
not return. The Countess lived through those three weeks, and
(36:21):
to save her own life, arranged.
Speaker 5 (36:23):
To be taken to the hospital.
Speaker 3 (36:26):
Doctor the boy, please sit money close.
Speaker 6 (36:31):
I appeal to you anything, of course, Jersesey.
Speaker 4 (36:35):
I believe I am not to a wicked, insane man
who would stop nothing to inherit my lands, my wealth, everything.
There is nothing I can say to those.
Speaker 3 (36:44):
Of the law which would help me. I'd decided to
forego all my worldly possessions. I will give them up
for my freedom. What can I do arrange for my death?
Speaker 5 (36:58):
Joessy?
Speaker 3 (37:00):
What are you saying now?
Speaker 4 (37:01):
I know to die here who had not enough money
for her respectable funeral, but one of those unfortunates in a.
Speaker 3 (37:06):
Coffin in my name. I don't understand. If I leave
this hospital and return home, I am as good as dead.
He will see to that.
Speaker 4 (37:16):
What are you, saying, tell my husband, I have died
seven days a woman in a decent grave, believing it
to be me.
Speaker 3 (37:25):
I don't ask it of any doctor. I beg it
of the only man I can trust, as much as
if you were my own father.
Speaker 1 (37:36):
I'm sorry it was done.
Speaker 3 (37:38):
Twenty years ago.
Speaker 1 (37:40):
We came here to this same little hotel from where
to the church or some of midline, and were married.
Speaker 4 (37:47):
Everything it was black turned white where there was one's darkness,
My dearest.
Speaker 3 (37:52):
Colors, now there was light.
Speaker 1 (37:54):
Now, my darling, surely you can let it fast rest.
Speaker 3 (37:58):
No, I cannot. All these years we stepped from my son.
Speaker 5 (38:02):
Where is he?
Speaker 3 (38:05):
When I saw that boy in the cafe brought everything back?
Speaker 1 (38:08):
Then we must return there. Come along. Let us not
waste a moment. I shall ask the proprietor that boy
here this morning. Yes, yes, the young was his name,
Hotly Shan. When my wife and I were at that table,
he was talking with you. Funny, you should got my
(38:29):
attention to him. He was asking who you were.
Speaker 3 (38:32):
Then we come here regularly, oh.
Speaker 1 (38:35):
Three times a week for breakfast coffee. Let me see. Yes,
you will be here eight o twelve in the morning
the day after tomorrow.
Speaker 3 (38:46):
So shall we be here at.
Speaker 1 (38:49):
That time, and so our curtain descent, but not ending
the story for all times, rather with a hope that
after twenty years, Countess Josephine, now happily married to a
(39:11):
Spanish Flandie, will perhaps be reunited with her own sons.
I shall return with a PostScript in a moment. All
human power is a compound of time and patience. Honor
(39:33):
head of ball Tax, and to him our thanks for
writing this tale. Time and patience did reunite the Countess
with their own sons, shuff and you should know that
it pleased her that he had no liking for gambling
or hunting. Young Shaw only interested me with a search
for knowledge with which he could help others. And here
ends our story. Our cast included Marion Seldy's, ROBERTA. Maxwell,
(39:56):
William Griffith, Court Benson, and Russell Horton. Higher production was
under the direction of Hymond Brown. Radio Mystery Theater were
sponsored in part by Buick Motor Division and True Value
Hardware Stores.
Speaker 3 (40:11):
This is e. G.
Speaker 1 (40:11):
Marshall inviting you to return to our Mystery Theater for
another adventure in the macabre. Until next time, Pleasant Stream
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Are You A Charlotte?
In 1997, actress Kristin Davis’ life was forever changed when she took on the role of Charlotte York in Sex and the City. As we watched Carrie, Samantha, Miranda and Charlotte navigate relationships in NYC, the show helped push once unacceptable conversation topics out of the shadows and altered the narrative around women and sex. We all saw ourselves in them as they searched for fulfillment in life, sex and friendships. Now, Kristin Davis wants to connect with you, the fans, and share untold stories and all the behind the scenes. Together, with Kristin and special guests, what will begin with Sex and the City will evolve into talks about themes that are still so relevant today. "Are you a Charlotte?" is much more than just rewatching this beloved show, it brings the past and the present together as we talk with heart, humor and of course some optimism.
Stuff You Should Know
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.