October 4, 2025 • 43 mins
CBS Radio Mystery Theater - Devils Leap
Become a supporter of this podcast: https://www.spreaker.com/podcast/good-old-radio-vintage-old-time-radio-shows--2778176/support.
Become a supporter of this podcast: https://www.spreaker.com/podcast/good-old-radio-vintage-old-time-radio-shows--2778176/support.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:04):
And now Mystery Theater.
Speaker 2 (00:23):
Come in.
Speaker 1 (00:25):
Welcome, I'm g. Marshall.
Speaker 3 (00:30):
Outside the Straits of Gibraltar, to the northwest of Cuddies
lies some of Spain's most beautiful beaches, protected by island
sand bars, and to the south of Cuddies, the towering
mountains begin to rise, on one of which Montelegre, is
the hacienda which holds the.
Speaker 1 (00:49):
Heart of this story.
Speaker 3 (00:51):
Approaching it by car at this moment are Chad Reynolds
and Elizabeth Monroe.
Speaker 4 (00:56):
But you haven't told me about the Senora at Golbine
La Donna to give her a full title.
Speaker 1 (01:04):
She's not to be mentioned.
Speaker 4 (01:06):
Because she is dead.
Speaker 2 (01:09):
You remember that little lodger I showed you cut into the
mountain the wedding present. It turned out to be her tombstone.
Also our mystery drama, The Devil's Meat was written especially
(01:32):
for the Mystery Theater by Ian Martin and stars Mercedes McCambridge.
All men love beauty in a woman. America has worshiped
a long line of beauty queens, sex symbols, love goddesses,
(01:58):
and today, as of moment, one of the perhaps the
best loved, is Elizabeth Monroe, sitting with her agent, Mark Burns,
a longtime friend, at a table at Madrid's brightest, newest
and most expensive nightclub, La Ronda.
Speaker 1 (02:16):
What's the matter is what you're not?
Speaker 5 (02:19):
Eight?
Speaker 4 (02:20):
Oh no no, I don't stop worrying about me. I'm
washed out.
Speaker 1 (02:28):
He shouldn't let me book you into this place.
Speaker 4 (02:30):
Oh, don't be silly. I was here for retakes on
the picture, and I had this well, I wanted to
sing again, Mark, I mean in front of people.
Speaker 1 (02:41):
Listen, you could go home, take the Hollywood brawl and
fell out and get your heart's desired. But why all
right now, I didn't mean that. I meant, oh, oh hey,
you spilled it. I'm sorry.
Speaker 4 (02:54):
Oh no, no, no, no, I'm the one sorry.
Speaker 1 (02:56):
Well why did you start so turn away like that?
Speaker 4 (03:00):
I just didn't want that boy crossing the dance floor
to see me.
Speaker 1 (03:04):
I mean Joe College or whatever he is.
Speaker 6 (03:06):
I mean don Pedro.
Speaker 4 (03:08):
It's Gobard the beardmon Oh.
Speaker 1 (03:11):
Okay, so outside of his name, what's this particular problem.
Speaker 4 (03:17):
It's just that he hates me.
Speaker 1 (03:19):
He's male, and he hates you.
Speaker 4 (03:22):
Enough to kill me, and with reason. When I think
of what I once had to do to that boy,
I Mark, I can't stay here, Colin, I'll have to
go back to my dress here.
Speaker 1 (03:40):
Okay, well, let's uh bring the dinner back here. Why
the sudden flight?
Speaker 4 (03:45):
I told you, Mark, it's that boy.
Speaker 1 (03:48):
Are you really afraid of him? Maybe I better?
Speaker 4 (03:50):
No, no, not physically. It isn't like that. I if
he's going to be in the audience tonight, I don't
wanna sing.
Speaker 1 (03:57):
Ah, it's not in my contract with its two shows
and eye. I had dinner and supper at a queen stipend.
Not enough for you, but it's what you insisted on signing.
You should be taking a rest between pictures. Who needs this?
Speaker 4 (04:11):
I told you I had an unstoppable end to go
back to my beginnings, to be with people, something that
lives and breathes and reacts so that you can feel it.
It began a long time before you found me. I
couldn't get anywhere at home, but here in Europe they
liked me as a singer. And it was here in Spain,
(04:35):
in Cadis, that I had my first really big success.
What was I then, Well, not all that young, really,
I was twenty seven, I guess. Never been in Cadis, Mark,
in the height of summer the waters and dancing fire,
(04:55):
sparkling a thousand colors under that burnished sun. The skies
are high and blue and cloudless, and the faces of
the people shine with love and lafty. One night at dusk,
one of my most insistent shooters, a party boy from
(05:18):
the American jet set with too much money into little ells,
was driving me to a weekend party at the Asienda
Monte which is the home of Donomilio Escobard Villamo. Oh, Chad,
for heaven's sake, to get easy on the curves.
Speaker 2 (05:35):
Have no fear, lady, I wouldn't risk a.
Speaker 1 (05:37):
Hair on that bond and lovely head.
Speaker 4 (05:40):
Well, I'm just a hard working nightclub singer who is
looking for a RESTful weekend.
Speaker 2 (05:44):
I don't promise you rest of Monte Leegro. It's hap
to be more fiesta. I uh hope.
Speaker 4 (05:50):
Well, it'll be a change of scene anyway.
Speaker 1 (05:52):
Are we getting here? Yeh very soon.
Speaker 2 (05:54):
Now on this next vand hey, look up there at
the mountain as we go across the bridge over the gorge.
You see that little loggio up there like a like
an eagle's nest.
Speaker 1 (06:05):
Yes, Oh, it looks like it cut right out of
the mountain. It was by Don Emilio.
Speaker 5 (06:11):
Wedding present for his wife.
Speaker 2 (06:13):
Oh there's the most magnificent view from their caddies to
the north. You brawled under the sound on the whole Atlantic,
beyond the sandbars, stretching into infinity.
Speaker 4 (06:23):
What a lovely wedding present. Yeah, only backfired.
Speaker 6 (06:29):
Turned out to be a pretty deadly one.
Speaker 2 (06:31):
What do you mean, oh, but stop its What do
I call my host? Well, if you want to be
very formal, he senor Escobar more intimately or I mean informally,
don't name you?
Speaker 1 (06:44):
Well, which do you think, guest, that's up to you.
Speaker 4 (06:47):
You're going to find him.
Speaker 2 (06:48):
I'm bending remote and very much in the tradition of
the Spanish grande.
Speaker 4 (06:53):
And the rest of his household.
Speaker 2 (06:56):
One son, his only son, don't pay. His nickname is Perrygo.
He he just came back from my years an exchanged
student at Princeton. That's how I met the family through
my kid brother knowing Perrygo.
Speaker 1 (07:10):
He's a strange guy.
Speaker 5 (07:11):
He's shy and intelligent.
Speaker 4 (07:14):
But he.
Speaker 5 (07:17):
Well, let's leap that he's strange.
Speaker 4 (07:20):
Look how old is he?
Speaker 1 (07:22):
What's something gena? I guess he's kind of young in
a lot of ways. For his age seventeen.
Speaker 4 (07:28):
I'm surprised his very young son for Donomilio, because he's
not that young.
Speaker 2 (07:34):
Oh he seems older than he is. He's had quite
a bit of sadness in his life. But come on,
was I don't want.
Speaker 1 (07:40):
To depress you.
Speaker 4 (07:41):
You haven't told me about Senora Escobi Ladogna.
Speaker 6 (07:47):
Well, she's not to be mentioned.
Speaker 2 (07:50):
Oh why not, because she's she's dead.
Speaker 4 (07:55):
I'm sorry. Is it recently? No?
Speaker 2 (07:58):
Five years or so ago. Look you remember that little
ludgie I told you about.
Speaker 4 (08:03):
The wedding present.
Speaker 2 (08:05):
Oh yeah, it turned out to be her tombstone.
Speaker 1 (08:10):
Also what.
Speaker 2 (08:13):
The road down to it has closed up? No one
goes there anymore. Natives think it's haunted.
Speaker 5 (08:20):
They call it and south told to be up.
Speaker 4 (08:23):
I mean the devil's leap, that's right.
Speaker 2 (08:27):
One night, five or six years ago, part of the
balustrade gave way, and don Emilia's wife fell a thousand
feet down the mountain.
Speaker 4 (08:34):
From there they were deads Well, you're certainly making this
weekend sound less and less attractive.
Speaker 1 (08:40):
The compensate, I guess.
Speaker 2 (08:42):
Don Emilio has surrounded himself ever since his wife's death
with color.
Speaker 1 (08:45):
And gaiety and young people.
Speaker 2 (08:47):
That's why I asked me to bring you.
Speaker 1 (08:50):
You'll see.
Speaker 4 (08:51):
Oh look, look, look, Oh, how gorgeous that is? I
do you know how to describe it?
Speaker 1 (09:00):
Famous carnations of volunteer eggs.
Speaker 2 (09:02):
Oh don't his hobby. I suppose there isn't a color
of variety he doesn't grow. They were her favorite club.
They say that when she was found she had a
blood red one m clasped in one hand.
Speaker 4 (09:24):
And that was how I first came to the Ocienda Montelegre,
the Happy Mountain, and my host, Don Emilio, I found
to be gracious and foremo less cold than Chad had
led me to be. And while he stood aloof from
the merriment, it was not he who brought the chill
(09:46):
with the coming of dusk, as if the ghosts of
long gone day still lurked in the shadowed walls. You know,
the most tragic ghost of all was the pale, intense
young man with the great liquid brown eyes who hovered
on the edge of the gaiety, who is though haunted
(10:06):
and unbearably said hello, Don Pedro, senorita. We haven't had
much of a chance to talk since going that.
Speaker 6 (10:20):
I am not very very good talker.
Speaker 1 (10:22):
I saw you talking.
Speaker 5 (10:23):
To my father.
Speaker 4 (10:25):
Yes, naturally he's my host.
Speaker 1 (10:27):
Yes, but but h don't Pyro.
Speaker 6 (10:31):
Please, it is a former.
Speaker 2 (10:33):
You will call me Pericho perhaps, please, Senorita Monroe.
Speaker 4 (10:38):
All right, it's a very nice names. And I am
Elizabeth ELIZABETHA. My friends call me Liz.
Speaker 6 (10:48):
I want to be your friend.
Speaker 7 (10:51):
Would you want to promenade in.
Speaker 5 (10:54):
The garden before the light goes?
Speaker 4 (10:56):
Oh?
Speaker 5 (10:56):
I love it so much.
Speaker 4 (10:58):
Smoke in here and noise and those two things I
want to get away from.
Speaker 7 (11:02):
Come with me, Senor, I mean Lis, I must talk with.
Speaker 4 (11:07):
You, even in this fading light. They are still so beautiful.
Speaker 7 (11:18):
Los Clavalles a big bidon the coronations. They were my
mother's favorite flower.
Speaker 5 (11:26):
Would you like to see where she died? Senoritalise?
Speaker 1 (11:30):
Why?
Speaker 7 (11:31):
I want to show you because I think you should
live here tonight.
Speaker 5 (11:36):
Now if I asked you to, would you.
Speaker 4 (11:40):
Why, Perico, I can't.
Speaker 7 (11:43):
I'm guessed you will come with me so you will
understand why you must live here.
Speaker 4 (11:53):
I went with him, almost mesmerized. I don't know why
I should have thought of danger with this strange, intense,
tightly round boys like the mainspring of a watch, ready
to snap. Like an explosion waiting to occur. But there
was something so appealing about him, so I followed him
(12:14):
beyond carnations to a gap between the rocks, now boarded
up by a heavy oaken door, but he veered to
the left of it, and then after a moment, he
moved aside a heavy rock that swung on a pivot,
and we went through and down some steps in front
(12:35):
of us, until we emerged onto a flat stage that
hung almost suspended in space, with a summer house built
against the mountain, and then a balustrade guarding the drop below.
And with a start in the twilight, I realized that
I was on the devil's leap the spot chatted shown
(12:58):
me from the road below. Why why did you bring
me here.
Speaker 1 (13:03):
Perrycho, Because I had to warn you there is death here, Lise.
Speaker 5 (13:09):
My father desires you. I could see it in his eyes.
Speaker 4 (13:13):
Done Emilio, Oh really, I.
Speaker 5 (13:16):
Do not chock.
Speaker 6 (13:17):
I know my father.
Speaker 1 (13:19):
He kills everything he loves, and I do not want
you to die as my mother died. Come here to
the balistad and I will show you.
Speaker 3 (13:35):
In the half glow of twilight. There is something strange
and terrifying about this tortured young man. What wild fancy
has opened up his shyness and made him pick on Liz.
Speaker 1 (13:47):
To bring to this deadly spot.
Speaker 3 (13:50):
I'll be back shortly with that too.
Speaker 4 (14:01):
She.
Speaker 5 (14:03):
Instinctively.
Speaker 3 (14:04):
Liz clings to the solid safety of the low gier
backed by the mountain, invitingly outlined by the last reflected
glare of the sun which has just set.
Speaker 6 (14:15):
Perico stands by the.
Speaker 3 (14:16):
Low balustrade, a few scant inches from a plunge of
over one thousand feet.
Speaker 5 (14:21):
You are in danger.
Speaker 4 (14:23):
Here from your father. I can't believe that.
Speaker 5 (14:28):
Can you believe that?
Speaker 7 (14:29):
Five years ago, by the time I was twelve, my
mother laid down there eleven hundred twelve hundred feet down.
Speaker 6 (14:37):
Crushed and broke them on the rocks.
Speaker 4 (14:40):
Yes, I've heard that she had an accident, that the
balustrade gave way.
Speaker 5 (14:45):
It was no accident.
Speaker 1 (14:47):
My father threw her off because he had tired of her.
Speaker 5 (14:52):
The balustrade was broken.
Speaker 6 (14:54):
Later to make it seem like an accident.
Speaker 4 (14:56):
Harry, Oh, how can you think such things about your father? You,
of all people, should be able to see how your
mother's death very nearly destroyed him.
Speaker 5 (15:07):
Modern death his guilt.
Speaker 4 (15:10):
Well, how can I argue with you.
Speaker 6 (15:14):
But I am sorry for you, sorry for me.
Speaker 4 (15:17):
Why to live with such hate locked up inside you?
Speaker 1 (15:23):
Oh?
Speaker 4 (15:23):
Look, Perico, look down at those magnificent beaches for the
best in all of Spain. And there are fiestas, festivals
and bullfights and even this week a carnival. Oh yes,
the carnival, Yes, and this year bigger than ever, with
real side shows and a carousel and lots of games
(15:47):
and the ferris wheel.
Speaker 1 (15:50):
I've never been up in one. We could we go together?
Speaker 5 (15:56):
Karamba? How I would like that? Will you go with me?
Speaker 6 (15:59):
Senori?
Speaker 1 (16:00):
Liz?
Speaker 5 (16:02):
Yes, Liz? Would you?
Speaker 1 (16:04):
Oh?
Speaker 4 (16:04):
We could have lots of excitement and fun, Huperico.
Speaker 1 (16:08):
Magnifico, Will you let me take you with me? I
think that would be just magnifical, And exactly what is
everybody's saying magnifical about?
Speaker 5 (16:22):
Ton miilion beko?
Speaker 1 (16:25):
You know who I am, Susan, and do me the
courtesy of addressing me correctly? Oh yes me, padre? What
are you doing here? And now? Are these places for
a billion?
Speaker 5 (16:40):
How did you know I was here?
Speaker 1 (16:41):
Beside the point? You have not answered my question?
Speaker 5 (16:46):
Why do you have to spoil everything? Always?
Speaker 1 (16:49):
You forget yourself in front of a guest. Leave us.
It's all right this, You'll be safe. I know you're here, Pericho,
what do you I must apologize for my son. I
(17:11):
hope she would forgive him. Senorita, mnoo, there's nothing to forgive.
I found him charming until Aunty I appeared that he
it's Banada. There's not difficult to know that you were missing,
and Baker is always on my mind. I had a
(17:33):
sudden uneasiness when I saw the rock was out of place.
I thought I might find you here.
Speaker 4 (17:43):
Well, I should be the one who apologizes, really, but
Terry Cook was so anxious to bring me here that
I didn't want to him.
Speaker 1 (17:53):
And I don't know Baker what you hear or what
he has been telling you, or.
Speaker 4 (17:58):
He's been telling me that he has never been to
a carnival and that he would like to escort me
to the one in Cadiz, said Herita.
Speaker 1 (18:08):
I would not want to impose on my guests, and.
Speaker 4 (18:11):
So I've already accepted, subject, of course, to your approval.
Speaker 1 (18:15):
What guys say, Hey, Oly, sorry that I am not
the one to be your escort.
Speaker 4 (18:23):
Ah, the wind is rising.
Speaker 1 (18:27):
Yes, it's not a good place to be. You'd forgive
me as a bad host, but dand this place Herita
as salto di diablo, where well name.
Speaker 4 (18:43):
Si Herita? What is it with that lovely recarnation? You've
crushed it in your hand.
Speaker 1 (18:52):
Ah, I'm sorry, us meant for you. We will find
you another On the way back.
Speaker 4 (19:05):
I lay awake for a long time that night. I
wondered about that long ago accidents or suicide, or yes,
I wondered too, if some guilty secret had laid its
pall over this uneasy house. But washing all that out
of my mind was a wave of pity for two
(19:27):
lonely people, a proud, unbending older man and a shy,
hurt boy whose world had been shadowed before it had
even had time to build it. Both of them were
haunted by a tragedy that should have brought them closer together,
but which instead had driven them apart.
Speaker 5 (19:56):
No clean, No, here is a man mos fine?
Speaker 1 (20:01):
How can knock?
Speaker 4 (20:02):
It doesn't seem to what?
Speaker 5 (20:04):
The torch is burning the paper?
Speaker 1 (20:08):
I love.
Speaker 6 (20:10):
You don't look at a woman, misslick.
Speaker 1 (20:14):
His con.
Speaker 4 (20:17):
It was hard to recognized this excited well boy, but
that's what he was like. To imagine him as he
was now full of bubbling good spirits, as being the
same person as the pale, retiring, tortured Pericho. And as
I followed him from booth to booth at the carnival,
I found that I was feeling as young and is
(20:39):
full of life and laughter?
Speaker 1 (20:40):
Is he ncome?
Speaker 5 (20:43):
We must ride the Setter's wheel.
Speaker 4 (20:48):
We entered our little cage at the bottom of a
huge wheel, and seconds later we were hurling upwards, And
suddenly Perico's hand was grasping mine, his eyes darting out
the carnival below, all eager and pleased, And then, just
as suddenly, as we stopped at the crest, his grip
(21:09):
was agonizingly strong. What what?
Speaker 1 (21:11):
What is it?
Speaker 4 (21:12):
Very good?
Speaker 1 (21:13):
Right?
Speaker 6 (21:14):
I am afraid.
Speaker 4 (21:16):
There's nothing to be afraid of. It is like el
soo del diablo so I, oh no, no, forget about that.
Speaker 6 (21:25):
You don't understand. It is when I am on heights,
I have this.
Speaker 7 (21:30):
I want to throw myself over or no, you're not.
Speaker 4 (21:34):
Going to fall, not while I'm with you.
Speaker 7 (21:38):
If only you could always be with me this, but
then nobody's nobody.
Speaker 6 (21:43):
I I'm sorry.
Speaker 4 (21:47):
You're sorry for what? And yet there you are? You
see now, there's nothing to worry about it. Here we
go down again. Everything is all right. But everything was
not all right. The shadow had passed across the bright day,
(22:08):
and something twisted in this boy sprang back like a
spring released to its original form, and that challenged me.
I promised myself that before I left Cadiz, I would
try to banish that shadow. In the next two weeks
(22:32):
I saw a lot of Perico. We swam together from
the golden beaches. We laughed and danced at fiesta. As
we sat entranced.
Speaker 1 (22:40):
At the bull ring.
Speaker 4 (22:42):
I stayed to it. Not early gray a great deal,
playing chess in the evening with Tonomilio, or dining at
the great carved oak table while he talked to poetry
or the theater or the past glories of Spain party.
But my time with father and son was mostly divided.
I could not bring them together, and at the last,
(23:07):
at the end of my singing engagement, I had to
leave monte Legre suddenly, without warning.
Speaker 1 (23:17):
And forever.
Speaker 4 (23:20):
We had gone. Perico and I that last day on
a picnic far from the Accienda. It was a drowsy,
lazy summer's day, and after the picnic lunch we lay
back dozing in the shade of an orange grove.
Speaker 6 (23:36):
Ki dammarabioso. I could die this moment.
Speaker 4 (23:43):
Thank you for the compliment.
Speaker 1 (23:46):
I mean because I am so happy.
Speaker 4 (23:48):
I am told. What a pity it has to end? Oh, yes, Perico,
I can't be on vacation forever. I got to leave
and get back to work.
Speaker 5 (23:59):
You can on leave me. I should I have done.
Speaker 1 (24:03):
Well?
Speaker 4 (24:04):
You go to college, find new friends. I don't know
mont new friends. Well, for your father's sake, I'll mention
his name.
Speaker 5 (24:12):
I hate my father.
Speaker 4 (24:13):
Oh, I don't think that's true. Killed my mother. No,
I don't think that's truly.
Speaker 5 (24:17):
It is if you'll talk to my father. Have you
asked him?
Speaker 4 (24:19):
No, it's as hard to talk to him sometimes as
it is to you. To me. Yes to you, even
though you say we are friends friends.
Speaker 5 (24:30):
You are not my friend.
Speaker 4 (24:32):
You are I know what?
Speaker 1 (24:34):
Oh?
Speaker 5 (24:34):
Not to harass me?
Speaker 1 (24:36):
Yeh, I adore you with all my heart?
Speaker 4 (24:40):
Job job y'ah. No no no, no, no, no, no
no no no, not me verry go. Oh no, Oh,
what a fool I've been. I should have known because
I am so much older. No, when I've been with you,
I've been thinking of you.
Speaker 5 (24:58):
I'll say it he's my fault. Now I saw ruin.
I never meant to tell you it's.
Speaker 4 (25:05):
Hopeless, perical, Perico, Come here, don't touch my course, I'll
touch you. Come here now there, here in my arms.
Listen to me. There's nothing so terrible about love, Pericho.
Speaker 6 (25:24):
Would you wait for me?
Speaker 4 (25:27):
That's up to you. You have so many things to finish.
First's colleague, and when you want to go with your life,
you have a world to conquer. Or if I could,
I would lay if that's your feet, so I think
that you could, But first conquer it and yourself. Then
(25:50):
it is not hopeless. Nothing, it's ever hopeless, Peryico, nothing
in this whole wide world. Why did you bring me
down here?
Speaker 1 (26:08):
Donomillio, I don't quite not accept it is a place
where we can be completely alone. And this is your
last night in Andalusia.
Speaker 4 (26:24):
At least it's before twilight, and the view is indescribably lovely.
Speaker 1 (26:32):
As you are, I can tell you one reason I
brought you here. I have a story to tell you
before I ask you to marry me.
Speaker 4 (26:48):
To marry you, but I.
Speaker 1 (26:52):
Know it's strange. I never thought love could come to
me again.
Speaker 5 (27:00):
It has.
Speaker 4 (27:02):
Well, if for no other reason. For Pericho's sake, I
can't Mary you. He's in love with me too. Love
a boy a shaw no, no, a young man. Your
(27:23):
child has grown up very fast, on Emilio.
Speaker 1 (27:28):
Why must something always stand between me and the one
I love? This wretched plays the horr will dibsabble himself.
Even the moon rises in blood upon it? Well, then
once again let it rise and sink on.
Speaker 3 (27:51):
It with the same sudden violence, says yet earlier, crushed
a blood red carnation in his hand. Don Emilio moves
across the terrace towards Elizabeth Monroe, and he, in sudden
and unanticipated terror, braces her back against the balustrade that
(28:14):
is the only protection between her and the sheer drop below.
I shall return shortly with Act three.
Speaker 1 (28:33):
As Don Emilio moves fixedly.
Speaker 3 (28:35):
Toward where she stands at the balustrade of the terrace,
a thousand feet above the jagged rocks below, Liz's terror
is only momentary, because almost simultaneously she sees that the
Don's eyes are not fixed on her, but on the
void beyond her, and instinctively she flings herself back against him,
(28:58):
dragging him away from the awesome.
Speaker 4 (29:00):
No no done a media No, no, no, no, that's
not the answer.
Speaker 1 (29:05):
It's never the answer.
Speaker 4 (29:06):
Me go, Let me go and repeat your wife's mistake.
Speaker 1 (29:10):
My wife's mistake.
Speaker 5 (29:12):
Yes, do you know about by?
Speaker 1 (29:17):
Why?
Speaker 4 (29:17):
Nothing on? It's obvious that between you and Pericho, who
should know best, neither one of you thinks that her
death was an accident.
Speaker 5 (29:27):
How could you know that?
Speaker 4 (29:28):
I don't know that. It's only my guess. Perico thinks
you pushed her to her death, and I think that
you believe that Pericho was the one who caused it.
Speaker 1 (29:39):
Would you like to know the truth if it.
Speaker 4 (29:42):
Will help you and Pericho?
Speaker 1 (29:45):
It would be relief to die it to someone, and
perhaps just once, to be believed. She was very beautiful, Dolores,
almost as lovely as you. I loved her. How can
(30:06):
one measure.
Speaker 4 (30:09):
It?
Speaker 1 (30:09):
Would have gladly died for her, And even though I
was older, I thought she loved me. It came in
summer like this. Five years ago, when Day was twelve,
we had gone away to a corrida. Namatador was instruments,
(30:31):
very young, careless abuse. He watched macnavis and in the ring,
and your wife Lauris fell in love with him all
that summer he was to fight in Andalusia cadi Is Granada.
Speaker 4 (30:51):
See.
Speaker 1 (30:54):
Sometimes she followed him, and when she didn't, they met
by nine. He in this lodger in the shadow of
my own roof.
Speaker 4 (31:08):
And all this time you stood by and said nothing.
Speaker 1 (31:14):
She would not hear me. I kept thinking with ed
she would see this empty treating pigeon for what he
was and come back to me. Did at last, and
k you, I must end it.
Speaker 4 (31:30):
You you don't mean that Pericle is right.
Speaker 1 (31:36):
No, I bought this treating peacock on and not a
dollar off as I should have in the beginning. He
walked out without a backward look.
Speaker 4 (31:49):
And your wife.
Speaker 1 (31:50):
One night, the lorry stole from the house down here
to the Devil's platform. I thought, perhaps I don't know
what was in my mind. I stumbled down here blindly,
half expecting to find them together again. And on the
way I even have memory of looking back and seeing
Perico running in the shadow somewhere. And when I got here,
(32:16):
I don't know what I might have done if i'd
found them instead. I far.
Speaker 4 (32:24):
To the media. You'd better finish it now that you started, French,
my soul.
Speaker 1 (32:35):
I found myself alone under a blood red moon, until
I looked over the parapet, and there far below she
lay broke and blooded as the moon and the carnation.
(33:01):
We found in her hand.
Speaker 4 (33:05):
An accident, I mean, the balustrade was.
Speaker 1 (33:08):
Broken, wasn't it that had happened in their rain said
day or so before?
Speaker 4 (33:14):
So it was what I finally guessed as suicide.
Speaker 1 (33:19):
I might have learned to live with that, but not not. What.
Speaker 4 (33:26):
Oh, you can't think that Percho could possibly have We both.
Speaker 1 (33:30):
Loved her, so anything is possible. The curse of our
heritage is too much pride, Too much pride.
Speaker 4 (33:42):
You think that Pericle might somehow have found out about
his money and that he had.
Speaker 1 (33:47):
Cannot allow myself to think such a thing, And for
the rest of my knowledge, he has never known, and
does on to his day. Well, now what is there
left to say? I have hoped, watching you and Pericho together,
and from all the times we have been together, that
(34:10):
somehow what has been lost could be found again. I
had there to hope that you would marry.
Speaker 4 (34:20):
Me, to bring you in Pericot together.
Speaker 1 (34:26):
I am neither totally unselfish or incapable of love, no
first for yourself than the other. But for you to
marry Perico.
Speaker 4 (34:39):
Marry you. No, no, no no, I'm much too old
for your son. As much as I love him, he will.
Speaker 1 (34:47):
Have all his trust and confidence and his heart.
Speaker 4 (34:54):
I know. I bring myself for that.
Speaker 1 (34:57):
Yea that forget, yes, bar for any There is nothing
you can do for us?
Speaker 4 (35:05):
Well, maybe I can, if I can face being cruel enough?
Speaker 1 (35:11):
Okay, first love.
Speaker 4 (35:15):
Is full of pain, and it is sometimes better to
be cruel in order to be kind. I think perhaps
what this situation needs is a new villain.
Speaker 1 (35:29):
Yes, that's the best thing I can do. What are
you going to lose here?
Speaker 4 (35:38):
I'm going to help you try to find your son? Yes,
who is it?
Speaker 1 (35:52):
Thatta?
Speaker 4 (35:52):
Go oh, Perry, go all right?
Speaker 5 (35:55):
Come on in?
Speaker 1 (35:57):
When not?
Speaker 6 (35:58):
D elie easily?
Speaker 5 (35:59):
The beautiful day.
Speaker 1 (36:00):
Everybody seems to be smiling.
Speaker 5 (36:03):
What are you doing?
Speaker 2 (36:04):
Well, as you can see, I am packing to leave, Yes,
to leave yesterday.
Speaker 5 (36:10):
You are not planning to leave?
Speaker 1 (36:11):
Why now?
Speaker 4 (36:12):
Oh? Don't you know about women?
Speaker 5 (36:14):
In Perico?
Speaker 4 (36:15):
They're just like the weather. They're subject to change without notice.
Speaker 2 (36:20):
There is a man, the chad or someone you are
in love with?
Speaker 5 (36:24):
Another man.
Speaker 4 (36:25):
Oh, don't be silly, Pericle.
Speaker 1 (36:27):
Don't treat me like a child, But then don't act
like one.
Speaker 5 (36:30):
But yesterday you said.
Speaker 6 (36:32):
I mean, I thought you were going to wait, I
thought you loved me.
Speaker 4 (36:37):
Yesterday was another day that was sweet and amusing, and
it suited my fancy. But today I am going away. Now,
will you please lift that bag off the bed for me?
And yes, of course, But I cannot understand you don't try,
and I'm not going to apologize. Yes, I led you on,
(36:58):
only to find that you are not ready for love,
just as I did with your father.
Speaker 1 (37:04):
My father.
Speaker 4 (37:04):
Oh, yes, you know he asked me to marry him.
He what?
Speaker 5 (37:10):
Oh?
Speaker 4 (37:10):
Why do you act like that? Perry Call? Your Father's only.
Speaker 1 (37:13):
Too Well, she's followed.
Speaker 5 (37:15):
He got what he wanted.
Speaker 1 (37:16):
Are you so sure?
Speaker 4 (37:18):
Have you ever talked about it? You too?
Speaker 5 (37:21):
No, and I never will. Besides, he has nothing to
do with this. What mattresses you and me?
Speaker 4 (37:28):
Oh? There never was a you and me, Perry Call,
or me and your father.
Speaker 1 (37:34):
I'm sorry.
Speaker 4 (37:35):
It was a long hot summer. It amused me to
play with both of you. But now that game is over,
I will kill myself.
Speaker 1 (37:43):
Oh I hope not.
Speaker 4 (37:46):
Why don't you talk to your father about it first?
You might learn something alright.
Speaker 7 (37:51):
I will at least he is a man, a man
you can't trust.
Speaker 1 (37:57):
But I say one thing before I leave, senor reap
the mom.
Speaker 5 (38:01):
Yesterday, I say I love you with all my heart.
Speaker 1 (38:05):
I take back those words for day, with with all
my heart and forever.
Speaker 4 (38:11):
I hate you, and I don't blame you, Perrycho. Right
at this moment, I'm not very fond of myself. And
that's the end of the story.
Speaker 1 (38:32):
Mark.
Speaker 4 (38:33):
It was the last time I saw Perrycho until he
walked across the dance store tonight. And that's why I
fled to my dressing room with you, because I was
so afraid to face him.
Speaker 1 (38:45):
But the story isn't finished.
Speaker 5 (38:47):
What happened is your gamble work.
Speaker 4 (38:50):
I don't even know. I haven't heard from either one
of them since I left. Pennie. Oh lord, look at
the time. I gotta get made up and ready. Would
you get that for me? Mark?
Speaker 1 (39:01):
Oh? Sure, yeah, sure, sure, she'll be ready. Why yeah,
I sent 'em in.
Speaker 4 (39:12):
What is it is it, Mike? You?
Speaker 1 (39:14):
Nah? Relax, you got a few minutes, Okay, excuse me?
Oh thanks so too. Oh, I'll handle 'em.
Speaker 4 (39:22):
What is it.
Speaker 1 (39:24):
Like about the biggest bunch of carnations I ever saw
with a note note.
Speaker 4 (39:31):
Well, I haven't time right now? Well what does the
note say?
Speaker 1 (39:35):
I think you better read the note yourself.
Speaker 4 (39:37):
Oh dear, where's my fan and my gloves too?
Speaker 1 (39:38):
Now you got time, I'll wait for you read the note.
Speaker 4 (39:41):
Okay, do you hear me? See? Oh, dear Liz, The
carnations are from my father, who has told me the
whole story about how you left Monde Lais. When I
read that you were to sing it Lorenda in Madrid,
I had to come to hear you. I wanted to
(40:01):
thank you for giving me back my life and my father's.
Would it be too much to hope that you might
join all of us at our table afterwards? Contorto me
put us on veryical, all of us.
Speaker 1 (40:20):
I A, there's a a PostScript there.
Speaker 4 (40:23):
Oh yeah, for many reasons, mainly that I want you
to meet my fiance. Oh Mark, I'm so glad it
worked for them.
Speaker 1 (40:44):
That's sir intro. Maybe better get going.
Speaker 4 (40:47):
Alright, except why, oh Mark, I'm so tired of this,
the pressure and always being on. I wanna be me
just the way I was that summer.
Speaker 1 (41:00):
Okay, Well we can arrange that too, if you want to.
Speaker 4 (41:06):
Oh if I want to.
Speaker 1 (41:09):
It's always been an open contract between us.
Speaker 4 (41:11):
All right, then I'm closing it right now, and we
can announce our engagement when we join the escobte. Oh.
Speaker 1 (41:19):
I don't wanna crowd you.
Speaker 4 (41:21):
How can you get any closer? I just woke up
to what I should have known all alone. Your their
daughter Duma Contdo caught us on.
Speaker 3 (41:40):
The reunion with Pericho and Donomilio MM and the new
young bride to be after the show was a warm
and wonderful one, and Don Emilio, older and frailer now
was exalted beyond belief by the coming marriage of his
son and in a sense, his daughter.
Speaker 5 (42:00):
I'll be back shortly.
Speaker 3 (42:11):
There are some cynics who might phrase marriage as el
salto de diablo, the devil's leap. I cannot answer for
Perico and his bride because I lost track of them.
But as for Liz and Mark, the leap was upwards,
never down. Our cast included Mercedes mc cambridge, Robert Dryden,
(42:33):
Ian Martin, and Christopher Tabori. The entire production was under
the direction of Hyman Brown. Though inviting you to return
to our mystery theater for another adventure in the macabre.
Until next time, pleasant dreams.
Speaker 4 (43:22):
Hi Tom Bodette, here with the burning question.
Speaker 1 (43:24):
Where the heck is Homer, Alaska?
Speaker 4 (43:26):
Well, Homer's where America stops and the Frontier begins.
Speaker 2 (43:30):
Tune in each week to the End of the Road
radio show on WISN.
Speaker 3 (43:34):
Meet some interesting people, swap some tunes, tell some stories,
or just sit back and take a break at the
end of the road.
And now Mystery Theater.
Speaker 2 (00:23):
Come in.
Speaker 1 (00:25):
Welcome, I'm g. Marshall.
Speaker 3 (00:30):
Outside the Straits of Gibraltar, to the northwest of Cuddies
lies some of Spain's most beautiful beaches, protected by island
sand bars, and to the south of Cuddies, the towering
mountains begin to rise, on one of which Montelegre, is
the hacienda which holds the.
Speaker 1 (00:49):
Heart of this story.
Speaker 3 (00:51):
Approaching it by car at this moment are Chad Reynolds
and Elizabeth Monroe.
Speaker 4 (00:56):
But you haven't told me about the Senora at Golbine
La Donna to give her a full title.
Speaker 1 (01:04):
She's not to be mentioned.
Speaker 4 (01:06):
Because she is dead.
Speaker 2 (01:09):
You remember that little lodger I showed you cut into the
mountain the wedding present. It turned out to be her tombstone.
Also our mystery drama, The Devil's Meat was written especially
(01:32):
for the Mystery Theater by Ian Martin and stars Mercedes McCambridge.
All men love beauty in a woman. America has worshiped
a long line of beauty queens, sex symbols, love goddesses,
(01:58):
and today, as of moment, one of the perhaps the
best loved, is Elizabeth Monroe, sitting with her agent, Mark Burns,
a longtime friend, at a table at Madrid's brightest, newest
and most expensive nightclub, La Ronda.
Speaker 1 (02:16):
What's the matter is what you're not?
Speaker 5 (02:19):
Eight?
Speaker 4 (02:20):
Oh no no, I don't stop worrying about me. I'm
washed out.
Speaker 1 (02:28):
He shouldn't let me book you into this place.
Speaker 4 (02:30):
Oh, don't be silly. I was here for retakes on
the picture, and I had this well, I wanted to
sing again, Mark, I mean in front of people.
Speaker 1 (02:41):
Listen, you could go home, take the Hollywood brawl and
fell out and get your heart's desired. But why all
right now, I didn't mean that. I meant, oh, oh hey,
you spilled it. I'm sorry.
Speaker 4 (02:54):
Oh no, no, no, no, I'm the one sorry.
Speaker 1 (02:56):
Well why did you start so turn away like that?
Speaker 4 (03:00):
I just didn't want that boy crossing the dance floor
to see me.
Speaker 1 (03:04):
I mean Joe College or whatever he is.
Speaker 6 (03:06):
I mean don Pedro.
Speaker 4 (03:08):
It's Gobard the beardmon Oh.
Speaker 1 (03:11):
Okay, so outside of his name, what's this particular problem.
Speaker 4 (03:17):
It's just that he hates me.
Speaker 1 (03:19):
He's male, and he hates you.
Speaker 4 (03:22):
Enough to kill me, and with reason. When I think
of what I once had to do to that boy,
I Mark, I can't stay here, Colin, I'll have to
go back to my dress here.
Speaker 1 (03:40):
Okay, well, let's uh bring the dinner back here. Why
the sudden flight?
Speaker 4 (03:45):
I told you, Mark, it's that boy.
Speaker 1 (03:48):
Are you really afraid of him? Maybe I better?
Speaker 4 (03:50):
No, no, not physically. It isn't like that. I if
he's going to be in the audience tonight, I don't
wanna sing.
Speaker 1 (03:57):
Ah, it's not in my contract with its two shows
and eye. I had dinner and supper at a queen stipend.
Not enough for you, but it's what you insisted on signing.
You should be taking a rest between pictures. Who needs this?
Speaker 4 (04:11):
I told you I had an unstoppable end to go
back to my beginnings, to be with people, something that
lives and breathes and reacts so that you can feel it.
It began a long time before you found me. I
couldn't get anywhere at home, but here in Europe they
liked me as a singer. And it was here in Spain,
(04:35):
in Cadis, that I had my first really big success.
What was I then, Well, not all that young, really,
I was twenty seven, I guess. Never been in Cadis, Mark,
in the height of summer the waters and dancing fire,
(04:55):
sparkling a thousand colors under that burnished sun. The skies
are high and blue and cloudless, and the faces of
the people shine with love and lafty. One night at dusk,
one of my most insistent shooters, a party boy from
(05:18):
the American jet set with too much money into little ells,
was driving me to a weekend party at the Asienda
Monte which is the home of Donomilio Escobard Villamo. Oh, Chad,
for heaven's sake, to get easy on the curves.
Speaker 2 (05:35):
Have no fear, lady, I wouldn't risk a.
Speaker 1 (05:37):
Hair on that bond and lovely head.
Speaker 4 (05:40):
Well, I'm just a hard working nightclub singer who is
looking for a RESTful weekend.
Speaker 2 (05:44):
I don't promise you rest of Monte Leegro. It's hap
to be more fiesta. I uh hope.
Speaker 4 (05:50):
Well, it'll be a change of scene anyway.
Speaker 1 (05:52):
Are we getting here? Yeh very soon.
Speaker 2 (05:54):
Now on this next vand hey, look up there at
the mountain as we go across the bridge over the gorge.
You see that little loggio up there like a like
an eagle's nest.
Speaker 1 (06:05):
Yes, Oh, it looks like it cut right out of
the mountain. It was by Don Emilio.
Speaker 5 (06:11):
Wedding present for his wife.
Speaker 2 (06:13):
Oh there's the most magnificent view from their caddies to
the north. You brawled under the sound on the whole Atlantic,
beyond the sandbars, stretching into infinity.
Speaker 4 (06:23):
What a lovely wedding present. Yeah, only backfired.
Speaker 6 (06:29):
Turned out to be a pretty deadly one.
Speaker 2 (06:31):
What do you mean, oh, but stop its What do
I call my host? Well, if you want to be
very formal, he senor Escobar more intimately or I mean informally,
don't name you?
Speaker 1 (06:44):
Well, which do you think, guest, that's up to you.
Speaker 4 (06:47):
You're going to find him.
Speaker 2 (06:48):
I'm bending remote and very much in the tradition of
the Spanish grande.
Speaker 4 (06:53):
And the rest of his household.
Speaker 2 (06:56):
One son, his only son, don't pay. His nickname is Perrygo.
He he just came back from my years an exchanged
student at Princeton. That's how I met the family through
my kid brother knowing Perrygo.
Speaker 1 (07:10):
He's a strange guy.
Speaker 5 (07:11):
He's shy and intelligent.
Speaker 4 (07:14):
But he.
Speaker 5 (07:17):
Well, let's leap that he's strange.
Speaker 4 (07:20):
Look how old is he?
Speaker 1 (07:22):
What's something gena? I guess he's kind of young in
a lot of ways. For his age seventeen.
Speaker 4 (07:28):
I'm surprised his very young son for Donomilio, because he's
not that young.
Speaker 2 (07:34):
Oh he seems older than he is. He's had quite
a bit of sadness in his life. But come on,
was I don't want.
Speaker 1 (07:40):
To depress you.
Speaker 4 (07:41):
You haven't told me about Senora Escobi Ladogna.
Speaker 6 (07:47):
Well, she's not to be mentioned.
Speaker 2 (07:50):
Oh why not, because she's she's dead.
Speaker 4 (07:55):
I'm sorry. Is it recently? No?
Speaker 2 (07:58):
Five years or so ago. Look you remember that little
ludgie I told you about.
Speaker 4 (08:03):
The wedding present.
Speaker 2 (08:05):
Oh yeah, it turned out to be her tombstone.
Speaker 1 (08:10):
Also what.
Speaker 2 (08:13):
The road down to it has closed up? No one
goes there anymore. Natives think it's haunted.
Speaker 5 (08:20):
They call it and south told to be up.
Speaker 4 (08:23):
I mean the devil's leap, that's right.
Speaker 2 (08:27):
One night, five or six years ago, part of the
balustrade gave way, and don Emilia's wife fell a thousand
feet down the mountain.
Speaker 4 (08:34):
From there they were deads Well, you're certainly making this
weekend sound less and less attractive.
Speaker 1 (08:40):
The compensate, I guess.
Speaker 2 (08:42):
Don Emilio has surrounded himself ever since his wife's death
with color.
Speaker 1 (08:45):
And gaiety and young people.
Speaker 2 (08:47):
That's why I asked me to bring you.
Speaker 1 (08:50):
You'll see.
Speaker 4 (08:51):
Oh look, look, look, Oh, how gorgeous that is? I
do you know how to describe it?
Speaker 1 (09:00):
Famous carnations of volunteer eggs.
Speaker 2 (09:02):
Oh don't his hobby. I suppose there isn't a color
of variety he doesn't grow. They were her favorite club.
They say that when she was found she had a
blood red one m clasped in one hand.
Speaker 4 (09:24):
And that was how I first came to the Ocienda Montelegre,
the Happy Mountain, and my host, Don Emilio, I found
to be gracious and foremo less cold than Chad had
led me to be. And while he stood aloof from
the merriment, it was not he who brought the chill
(09:46):
with the coming of dusk, as if the ghosts of
long gone day still lurked in the shadowed walls. You know,
the most tragic ghost of all was the pale, intense
young man with the great liquid brown eyes who hovered
on the edge of the gaiety, who is though haunted
(10:06):
and unbearably said hello, Don Pedro, senorita. We haven't had
much of a chance to talk since going that.
Speaker 6 (10:20):
I am not very very good talker.
Speaker 1 (10:22):
I saw you talking.
Speaker 5 (10:23):
To my father.
Speaker 4 (10:25):
Yes, naturally he's my host.
Speaker 1 (10:27):
Yes, but but h don't Pyro.
Speaker 6 (10:31):
Please, it is a former.
Speaker 2 (10:33):
You will call me Pericho perhaps, please, Senorita Monroe.
Speaker 4 (10:38):
All right, it's a very nice names. And I am
Elizabeth ELIZABETHA. My friends call me Liz.
Speaker 6 (10:48):
I want to be your friend.
Speaker 7 (10:51):
Would you want to promenade in.
Speaker 5 (10:54):
The garden before the light goes?
Speaker 4 (10:56):
Oh?
Speaker 5 (10:56):
I love it so much.
Speaker 4 (10:58):
Smoke in here and noise and those two things I
want to get away from.
Speaker 7 (11:02):
Come with me, Senor, I mean Lis, I must talk with.
Speaker 4 (11:07):
You, even in this fading light. They are still so beautiful.
Speaker 7 (11:18):
Los Clavalles a big bidon the coronations. They were my
mother's favorite flower.
Speaker 5 (11:26):
Would you like to see where she died? Senoritalise?
Speaker 1 (11:30):
Why?
Speaker 7 (11:31):
I want to show you because I think you should
live here tonight.
Speaker 5 (11:36):
Now if I asked you to, would you.
Speaker 4 (11:40):
Why, Perico, I can't.
Speaker 7 (11:43):
I'm guessed you will come with me so you will
understand why you must live here.
Speaker 4 (11:53):
I went with him, almost mesmerized. I don't know why
I should have thought of danger with this strange, intense,
tightly round boys like the mainspring of a watch, ready
to snap. Like an explosion waiting to occur. But there
was something so appealing about him, so I followed him
(12:14):
beyond carnations to a gap between the rocks, now boarded
up by a heavy oaken door, but he veered to
the left of it, and then after a moment, he
moved aside a heavy rock that swung on a pivot,
and we went through and down some steps in front
(12:35):
of us, until we emerged onto a flat stage that
hung almost suspended in space, with a summer house built
against the mountain, and then a balustrade guarding the drop below.
And with a start in the twilight, I realized that
I was on the devil's leap the spot chatted shown
(12:58):
me from the road below. Why why did you bring
me here.
Speaker 1 (13:03):
Perrycho, Because I had to warn you there is death here, Lise.
Speaker 5 (13:09):
My father desires you. I could see it in his eyes.
Speaker 4 (13:13):
Done Emilio, Oh really, I.
Speaker 5 (13:16):
Do not chock.
Speaker 6 (13:17):
I know my father.
Speaker 1 (13:19):
He kills everything he loves, and I do not want
you to die as my mother died. Come here to
the balistad and I will show you.
Speaker 3 (13:35):
In the half glow of twilight. There is something strange
and terrifying about this tortured young man. What wild fancy
has opened up his shyness and made him pick on Liz.
Speaker 1 (13:47):
To bring to this deadly spot.
Speaker 3 (13:50):
I'll be back shortly with that too.
Speaker 4 (14:01):
She.
Speaker 5 (14:03):
Instinctively.
Speaker 3 (14:04):
Liz clings to the solid safety of the low gier
backed by the mountain, invitingly outlined by the last reflected
glare of the sun which has just set.
Speaker 6 (14:15):
Perico stands by the.
Speaker 3 (14:16):
Low balustrade, a few scant inches from a plunge of
over one thousand feet.
Speaker 5 (14:21):
You are in danger.
Speaker 4 (14:23):
Here from your father. I can't believe that.
Speaker 5 (14:28):
Can you believe that?
Speaker 7 (14:29):
Five years ago, by the time I was twelve, my
mother laid down there eleven hundred twelve hundred feet down.
Speaker 6 (14:37):
Crushed and broke them on the rocks.
Speaker 4 (14:40):
Yes, I've heard that she had an accident, that the
balustrade gave way.
Speaker 5 (14:45):
It was no accident.
Speaker 1 (14:47):
My father threw her off because he had tired of her.
Speaker 5 (14:52):
The balustrade was broken.
Speaker 6 (14:54):
Later to make it seem like an accident.
Speaker 4 (14:56):
Harry, Oh, how can you think such things about your father? You,
of all people, should be able to see how your
mother's death very nearly destroyed him.
Speaker 5 (15:07):
Modern death his guilt.
Speaker 4 (15:10):
Well, how can I argue with you.
Speaker 6 (15:14):
But I am sorry for you, sorry for me.
Speaker 4 (15:17):
Why to live with such hate locked up inside you?
Speaker 1 (15:23):
Oh?
Speaker 4 (15:23):
Look, Perico, look down at those magnificent beaches for the
best in all of Spain. And there are fiestas, festivals
and bullfights and even this week a carnival. Oh yes,
the carnival, Yes, and this year bigger than ever, with
real side shows and a carousel and lots of games
(15:47):
and the ferris wheel.
Speaker 1 (15:50):
I've never been up in one. We could we go together?
Speaker 5 (15:56):
Karamba? How I would like that? Will you go with me?
Speaker 6 (15:59):
Senori?
Speaker 1 (16:00):
Liz?
Speaker 5 (16:02):
Yes, Liz? Would you?
Speaker 1 (16:04):
Oh?
Speaker 4 (16:04):
We could have lots of excitement and fun, Huperico.
Speaker 1 (16:08):
Magnifico, Will you let me take you with me? I
think that would be just magnifical, And exactly what is
everybody's saying magnifical about?
Speaker 5 (16:22):
Ton miilion beko?
Speaker 1 (16:25):
You know who I am, Susan, and do me the
courtesy of addressing me correctly? Oh yes me, padre? What
are you doing here? And now? Are these places for
a billion?
Speaker 5 (16:40):
How did you know I was here?
Speaker 1 (16:41):
Beside the point? You have not answered my question?
Speaker 5 (16:46):
Why do you have to spoil everything? Always?
Speaker 1 (16:49):
You forget yourself in front of a guest. Leave us.
It's all right this, You'll be safe. I know you're here, Pericho,
what do you I must apologize for my son. I
(17:11):
hope she would forgive him. Senorita, mnoo, there's nothing to forgive.
I found him charming until Aunty I appeared that he
it's Banada. There's not difficult to know that you were missing,
and Baker is always on my mind. I had a
(17:33):
sudden uneasiness when I saw the rock was out of place.
I thought I might find you here.
Speaker 4 (17:43):
Well, I should be the one who apologizes, really, but
Terry Cook was so anxious to bring me here that
I didn't want to him.
Speaker 1 (17:53):
And I don't know Baker what you hear or what
he has been telling you, or.
Speaker 4 (17:58):
He's been telling me that he has never been to
a carnival and that he would like to escort me
to the one in Cadiz, said Herita.
Speaker 1 (18:08):
I would not want to impose on my guests, and.
Speaker 4 (18:11):
So I've already accepted, subject, of course, to your approval.
Speaker 1 (18:15):
What guys say, Hey, Oly, sorry that I am not
the one to be your escort.
Speaker 4 (18:23):
Ah, the wind is rising.
Speaker 1 (18:27):
Yes, it's not a good place to be. You'd forgive
me as a bad host, but dand this place Herita
as salto di diablo, where well name.
Speaker 4 (18:43):
Si Herita? What is it with that lovely recarnation? You've
crushed it in your hand.
Speaker 1 (18:52):
Ah, I'm sorry, us meant for you. We will find
you another On the way back.
Speaker 4 (19:05):
I lay awake for a long time that night. I
wondered about that long ago accidents or suicide, or yes,
I wondered too, if some guilty secret had laid its
pall over this uneasy house. But washing all that out
of my mind was a wave of pity for two
(19:27):
lonely people, a proud, unbending older man and a shy,
hurt boy whose world had been shadowed before it had
even had time to build it. Both of them were
haunted by a tragedy that should have brought them closer together,
but which instead had driven them apart.
Speaker 5 (19:56):
No clean, No, here is a man mos fine?
Speaker 1 (20:01):
How can knock?
Speaker 4 (20:02):
It doesn't seem to what?
Speaker 5 (20:04):
The torch is burning the paper?
Speaker 1 (20:08):
I love.
Speaker 6 (20:10):
You don't look at a woman, misslick.
Speaker 1 (20:14):
His con.
Speaker 4 (20:17):
It was hard to recognized this excited well boy, but
that's what he was like. To imagine him as he
was now full of bubbling good spirits, as being the
same person as the pale, retiring, tortured Pericho. And as
I followed him from booth to booth at the carnival,
I found that I was feeling as young and is
(20:39):
full of life and laughter?
Speaker 1 (20:40):
Is he ncome?
Speaker 5 (20:43):
We must ride the Setter's wheel.
Speaker 4 (20:48):
We entered our little cage at the bottom of a
huge wheel, and seconds later we were hurling upwards, And
suddenly Perico's hand was grasping mine, his eyes darting out
the carnival below, all eager and pleased, And then, just
as suddenly, as we stopped at the crest, his grip
(21:09):
was agonizingly strong. What what?
Speaker 1 (21:11):
What is it?
Speaker 4 (21:12):
Very good?
Speaker 1 (21:13):
Right?
Speaker 6 (21:14):
I am afraid.
Speaker 4 (21:16):
There's nothing to be afraid of. It is like el
soo del diablo so I, oh no, no, forget about that.
Speaker 6 (21:25):
You don't understand. It is when I am on heights,
I have this.
Speaker 7 (21:30):
I want to throw myself over or no, you're not.
Speaker 4 (21:34):
Going to fall, not while I'm with you.
Speaker 7 (21:38):
If only you could always be with me this, but
then nobody's nobody.
Speaker 6 (21:43):
I I'm sorry.
Speaker 4 (21:47):
You're sorry for what? And yet there you are? You
see now, there's nothing to worry about it. Here we
go down again. Everything is all right. But everything was
not all right. The shadow had passed across the bright day,
(22:08):
and something twisted in this boy sprang back like a
spring released to its original form, and that challenged me.
I promised myself that before I left Cadiz, I would
try to banish that shadow. In the next two weeks
(22:32):
I saw a lot of Perico. We swam together from
the golden beaches. We laughed and danced at fiesta. As
we sat entranced.
Speaker 1 (22:40):
At the bull ring.
Speaker 4 (22:42):
I stayed to it. Not early gray a great deal,
playing chess in the evening with Tonomilio, or dining at
the great carved oak table while he talked to poetry
or the theater or the past glories of Spain party.
But my time with father and son was mostly divided.
I could not bring them together, and at the last,
(23:07):
at the end of my singing engagement, I had to
leave monte Legre suddenly, without warning.
Speaker 1 (23:17):
And forever.
Speaker 4 (23:20):
We had gone. Perico and I that last day on
a picnic far from the Accienda. It was a drowsy,
lazy summer's day, and after the picnic lunch we lay
back dozing in the shade of an orange grove.
Speaker 6 (23:36):
Ki dammarabioso. I could die this moment.
Speaker 4 (23:43):
Thank you for the compliment.
Speaker 1 (23:46):
I mean because I am so happy.
Speaker 4 (23:48):
I am told. What a pity it has to end? Oh, yes, Perico,
I can't be on vacation forever. I got to leave
and get back to work.
Speaker 5 (23:59):
You can on leave me. I should I have done.
Speaker 1 (24:03):
Well?
Speaker 4 (24:04):
You go to college, find new friends. I don't know
mont new friends. Well, for your father's sake, I'll mention
his name.
Speaker 5 (24:12):
I hate my father.
Speaker 4 (24:13):
Oh, I don't think that's true. Killed my mother. No,
I don't think that's truly.
Speaker 5 (24:17):
It is if you'll talk to my father. Have you
asked him?
Speaker 4 (24:19):
No, it's as hard to talk to him sometimes as
it is to you. To me. Yes to you, even
though you say we are friends friends.
Speaker 5 (24:30):
You are not my friend.
Speaker 4 (24:32):
You are I know what?
Speaker 1 (24:34):
Oh?
Speaker 5 (24:34):
Not to harass me?
Speaker 1 (24:36):
Yeh, I adore you with all my heart?
Speaker 4 (24:40):
Job job y'ah. No no no, no, no, no, no
no no no, not me verry go. Oh no, Oh,
what a fool I've been. I should have known because
I am so much older. No, when I've been with you,
I've been thinking of you.
Speaker 5 (24:58):
I'll say it he's my fault. Now I saw ruin.
I never meant to tell you it's.
Speaker 4 (25:05):
Hopeless, perical, Perico, Come here, don't touch my course, I'll
touch you. Come here now there, here in my arms.
Listen to me. There's nothing so terrible about love, Pericho.
Speaker 6 (25:24):
Would you wait for me?
Speaker 4 (25:27):
That's up to you. You have so many things to finish.
First's colleague, and when you want to go with your life,
you have a world to conquer. Or if I could,
I would lay if that's your feet, so I think
that you could, But first conquer it and yourself. Then
(25:50):
it is not hopeless. Nothing, it's ever hopeless, Peryico, nothing
in this whole wide world. Why did you bring me
down here?
Speaker 1 (26:08):
Donomillio, I don't quite not accept it is a place
where we can be completely alone. And this is your
last night in Andalusia.
Speaker 4 (26:24):
At least it's before twilight, and the view is indescribably lovely.
Speaker 1 (26:32):
As you are, I can tell you one reason I
brought you here. I have a story to tell you
before I ask you to marry me.
Speaker 4 (26:48):
To marry you, but I.
Speaker 1 (26:52):
Know it's strange. I never thought love could come to
me again.
Speaker 5 (27:00):
It has.
Speaker 4 (27:02):
Well, if for no other reason. For Pericho's sake, I
can't Mary you. He's in love with me too. Love
a boy a shaw no, no, a young man. Your
(27:23):
child has grown up very fast, on Emilio.
Speaker 1 (27:28):
Why must something always stand between me and the one
I love? This wretched plays the horr will dibsabble himself.
Even the moon rises in blood upon it? Well, then
once again let it rise and sink on.
Speaker 3 (27:51):
It with the same sudden violence, says yet earlier, crushed
a blood red carnation in his hand. Don Emilio moves
across the terrace towards Elizabeth Monroe, and he, in sudden
and unanticipated terror, braces her back against the balustrade that
(28:14):
is the only protection between her and the sheer drop below.
I shall return shortly with Act three.
Speaker 1 (28:33):
As Don Emilio moves fixedly.
Speaker 3 (28:35):
Toward where she stands at the balustrade of the terrace,
a thousand feet above the jagged rocks below, Liz's terror
is only momentary, because almost simultaneously she sees that the
Don's eyes are not fixed on her, but on the
void beyond her, and instinctively she flings herself back against him,
(28:58):
dragging him away from the awesome.
Speaker 4 (29:00):
No no done a media No, no, no, no, that's
not the answer.
Speaker 1 (29:05):
It's never the answer.
Speaker 4 (29:06):
Me go, Let me go and repeat your wife's mistake.
Speaker 1 (29:10):
My wife's mistake.
Speaker 5 (29:12):
Yes, do you know about by?
Speaker 1 (29:17):
Why?
Speaker 4 (29:17):
Nothing on? It's obvious that between you and Pericho, who
should know best, neither one of you thinks that her
death was an accident.
Speaker 5 (29:27):
How could you know that?
Speaker 4 (29:28):
I don't know that. It's only my guess. Perico thinks
you pushed her to her death, and I think that
you believe that Pericho was the one who caused it.
Speaker 1 (29:39):
Would you like to know the truth if it.
Speaker 4 (29:42):
Will help you and Pericho?
Speaker 1 (29:45):
It would be relief to die it to someone, and
perhaps just once, to be believed. She was very beautiful, Dolores,
almost as lovely as you. I loved her. How can
(30:06):
one measure.
Speaker 4 (30:09):
It?
Speaker 1 (30:09):
Would have gladly died for her, And even though I
was older, I thought she loved me. It came in
summer like this. Five years ago, when Day was twelve,
we had gone away to a corrida. Namatador was instruments,
(30:31):
very young, careless abuse. He watched macnavis and in the ring,
and your wife Lauris fell in love with him all
that summer he was to fight in Andalusia cadi Is Granada.
Speaker 4 (30:51):
See.
Speaker 1 (30:54):
Sometimes she followed him, and when she didn't, they met
by nine. He in this lodger in the shadow of
my own roof.
Speaker 4 (31:08):
And all this time you stood by and said nothing.
Speaker 1 (31:14):
She would not hear me. I kept thinking with ed
she would see this empty treating pigeon for what he
was and come back to me. Did at last, and
k you, I must end it.
Speaker 4 (31:30):
You you don't mean that Pericle is right.
Speaker 1 (31:36):
No, I bought this treating peacock on and not a
dollar off as I should have in the beginning. He
walked out without a backward look.
Speaker 4 (31:49):
And your wife.
Speaker 1 (31:50):
One night, the lorry stole from the house down here
to the Devil's platform. I thought, perhaps I don't know
what was in my mind. I stumbled down here blindly,
half expecting to find them together again. And on the
way I even have memory of looking back and seeing
Perico running in the shadow somewhere. And when I got here,
(32:16):
I don't know what I might have done if i'd
found them instead. I far.
Speaker 4 (32:24):
To the media. You'd better finish it now that you started, French,
my soul.
Speaker 1 (32:35):
I found myself alone under a blood red moon, until
I looked over the parapet, and there far below she
lay broke and blooded as the moon and the carnation.
(33:01):
We found in her hand.
Speaker 4 (33:05):
An accident, I mean, the balustrade was.
Speaker 1 (33:08):
Broken, wasn't it that had happened in their rain said
day or so before?
Speaker 4 (33:14):
So it was what I finally guessed as suicide.
Speaker 1 (33:19):
I might have learned to live with that, but not not. What.
Speaker 4 (33:26):
Oh, you can't think that Percho could possibly have We both.
Speaker 1 (33:30):
Loved her, so anything is possible. The curse of our
heritage is too much pride, Too much pride.
Speaker 4 (33:42):
You think that Pericle might somehow have found out about
his money and that he had.
Speaker 1 (33:47):
Cannot allow myself to think such a thing, And for
the rest of my knowledge, he has never known, and
does on to his day. Well, now what is there
left to say? I have hoped, watching you and Pericho together,
and from all the times we have been together, that
(34:10):
somehow what has been lost could be found again. I
had there to hope that you would marry.
Speaker 4 (34:20):
Me, to bring you in Pericot together.
Speaker 1 (34:26):
I am neither totally unselfish or incapable of love, no
first for yourself than the other. But for you to
marry Perico.
Speaker 4 (34:39):
Marry you. No, no, no no, I'm much too old
for your son. As much as I love him, he will.
Speaker 1 (34:47):
Have all his trust and confidence and his heart.
Speaker 4 (34:54):
I know. I bring myself for that.
Speaker 1 (34:57):
Yea that forget, yes, bar for any There is nothing
you can do for us?
Speaker 4 (35:05):
Well, maybe I can, if I can face being cruel enough?
Speaker 1 (35:11):
Okay, first love.
Speaker 4 (35:15):
Is full of pain, and it is sometimes better to
be cruel in order to be kind. I think perhaps
what this situation needs is a new villain.
Speaker 1 (35:29):
Yes, that's the best thing I can do. What are
you going to lose here?
Speaker 4 (35:38):
I'm going to help you try to find your son? Yes,
who is it?
Speaker 1 (35:52):
Thatta?
Speaker 4 (35:52):
Go oh, Perry, go all right?
Speaker 5 (35:55):
Come on in?
Speaker 1 (35:57):
When not?
Speaker 6 (35:58):
D elie easily?
Speaker 5 (35:59):
The beautiful day.
Speaker 1 (36:00):
Everybody seems to be smiling.
Speaker 5 (36:03):
What are you doing?
Speaker 2 (36:04):
Well, as you can see, I am packing to leave, Yes,
to leave yesterday.
Speaker 5 (36:10):
You are not planning to leave?
Speaker 1 (36:11):
Why now?
Speaker 4 (36:12):
Oh? Don't you know about women?
Speaker 5 (36:14):
In Perico?
Speaker 4 (36:15):
They're just like the weather. They're subject to change without notice.
Speaker 2 (36:20):
There is a man, the chad or someone you are
in love with?
Speaker 5 (36:24):
Another man.
Speaker 4 (36:25):
Oh, don't be silly, Pericle.
Speaker 1 (36:27):
Don't treat me like a child, But then don't act
like one.
Speaker 5 (36:30):
But yesterday you said.
Speaker 6 (36:32):
I mean, I thought you were going to wait, I
thought you loved me.
Speaker 4 (36:37):
Yesterday was another day that was sweet and amusing, and
it suited my fancy. But today I am going away. Now,
will you please lift that bag off the bed for me?
And yes, of course, But I cannot understand you don't try,
and I'm not going to apologize. Yes, I led you on,
(36:58):
only to find that you are not ready for love,
just as I did with your father.
Speaker 1 (37:04):
My father.
Speaker 4 (37:04):
Oh, yes, you know he asked me to marry him.
He what?
Speaker 5 (37:10):
Oh?
Speaker 4 (37:10):
Why do you act like that? Perry Call? Your Father's only.
Speaker 1 (37:13):
Too Well, she's followed.
Speaker 5 (37:15):
He got what he wanted.
Speaker 1 (37:16):
Are you so sure?
Speaker 4 (37:18):
Have you ever talked about it? You too?
Speaker 5 (37:21):
No, and I never will. Besides, he has nothing to
do with this. What mattresses you and me?
Speaker 4 (37:28):
Oh? There never was a you and me, Perry Call,
or me and your father.
Speaker 1 (37:34):
I'm sorry.
Speaker 4 (37:35):
It was a long hot summer. It amused me to
play with both of you. But now that game is over,
I will kill myself.
Speaker 1 (37:43):
Oh I hope not.
Speaker 4 (37:46):
Why don't you talk to your father about it first?
You might learn something alright.
Speaker 7 (37:51):
I will at least he is a man, a man
you can't trust.
Speaker 1 (37:57):
But I say one thing before I leave, senor reap
the mom.
Speaker 5 (38:01):
Yesterday, I say I love you with all my heart.
Speaker 1 (38:05):
I take back those words for day, with with all
my heart and forever.
Speaker 4 (38:11):
I hate you, and I don't blame you, Perrycho. Right
at this moment, I'm not very fond of myself. And
that's the end of the story.
Speaker 1 (38:32):
Mark.
Speaker 4 (38:33):
It was the last time I saw Perrycho until he
walked across the dance store tonight. And that's why I
fled to my dressing room with you, because I was
so afraid to face him.
Speaker 1 (38:45):
But the story isn't finished.
Speaker 5 (38:47):
What happened is your gamble work.
Speaker 4 (38:50):
I don't even know. I haven't heard from either one
of them since I left. Pennie. Oh lord, look at
the time. I gotta get made up and ready. Would
you get that for me? Mark?
Speaker 1 (39:01):
Oh? Sure, yeah, sure, sure, she'll be ready. Why yeah,
I sent 'em in.
Speaker 4 (39:12):
What is it is it, Mike? You?
Speaker 1 (39:14):
Nah? Relax, you got a few minutes, Okay, excuse me?
Oh thanks so too. Oh, I'll handle 'em.
Speaker 4 (39:22):
What is it.
Speaker 1 (39:24):
Like about the biggest bunch of carnations I ever saw
with a note note.
Speaker 4 (39:31):
Well, I haven't time right now? Well what does the
note say?
Speaker 1 (39:35):
I think you better read the note yourself.
Speaker 4 (39:37):
Oh dear, where's my fan and my gloves too?
Speaker 1 (39:38):
Now you got time, I'll wait for you read the note.
Speaker 4 (39:41):
Okay, do you hear me? See? Oh, dear Liz, The
carnations are from my father, who has told me the
whole story about how you left Monde Lais. When I
read that you were to sing it Lorenda in Madrid,
I had to come to hear you. I wanted to
(40:01):
thank you for giving me back my life and my father's.
Would it be too much to hope that you might
join all of us at our table afterwards? Contorto me
put us on veryical, all of us.
Speaker 1 (40:20):
I A, there's a a PostScript there.
Speaker 4 (40:23):
Oh yeah, for many reasons, mainly that I want you
to meet my fiance. Oh Mark, I'm so glad it
worked for them.
Speaker 1 (40:44):
That's sir intro. Maybe better get going.
Speaker 4 (40:47):
Alright, except why, oh Mark, I'm so tired of this,
the pressure and always being on. I wanna be me
just the way I was that summer.
Speaker 1 (41:00):
Okay, Well we can arrange that too, if you want to.
Speaker 4 (41:06):
Oh if I want to.
Speaker 1 (41:09):
It's always been an open contract between us.
Speaker 4 (41:11):
All right, then I'm closing it right now, and we
can announce our engagement when we join the escobte. Oh.
Speaker 1 (41:19):
I don't wanna crowd you.
Speaker 4 (41:21):
How can you get any closer? I just woke up
to what I should have known all alone. Your their
daughter Duma Contdo caught us on.
Speaker 3 (41:40):
The reunion with Pericho and Donomilio MM and the new
young bride to be after the show was a warm
and wonderful one, and Don Emilio, older and frailer now
was exalted beyond belief by the coming marriage of his
son and in a sense, his daughter.
Speaker 5 (42:00):
I'll be back shortly.
Speaker 3 (42:11):
There are some cynics who might phrase marriage as el
salto de diablo, the devil's leap. I cannot answer for
Perico and his bride because I lost track of them.
But as for Liz and Mark, the leap was upwards,
never down. Our cast included Mercedes mc cambridge, Robert Dryden,
(42:33):
Ian Martin, and Christopher Tabori. The entire production was under
the direction of Hyman Brown. Though inviting you to return
to our mystery theater for another adventure in the macabre.
Until next time, pleasant dreams.
Speaker 4 (43:22):
Hi Tom Bodette, here with the burning question.
Speaker 1 (43:24):
Where the heck is Homer, Alaska?
Speaker 4 (43:26):
Well, Homer's where America stops and the Frontier begins.
Speaker 2 (43:30):
Tune in each week to the End of the Road
radio show on WISN.
Speaker 3 (43:34):
Meet some interesting people, swap some tunes, tell some stories,
or just sit back and take a break at the
end of the road.
Popular Podcasts
CrimeLess: Hillbilly Heist
It’s 1996 in rural North Carolina, and an oddball crew makes history when they pull off America’s third largest cash heist. But it’s all downhill from there. Join host Johnny Knoxville as he unspools a wild and woolly tale about a group of regular ‘ol folks who risked it all for a chance at a better life. CrimeLess: Hillbilly Heist answers the question: what would you do with 17.3 million dollars? The answer includes diamond rings, mansions, velvet Elvis paintings, plus a run for the border, murder-for-hire-plots, and FBI busts.
Crime Junkie
Does hearing about a true crime case always leave you scouring the internet for the truth behind the story? Dive into your next mystery with Crime Junkie. Every Monday, join your host Ashley Flowers as she unravels all the details of infamous and underreported true crime cases with her best friend Brit Prawat. From cold cases to missing persons and heroes in our community who seek justice, Crime Junkie is your destination for theories and stories you won’t hear anywhere else. Whether you're a seasoned true crime enthusiast or new to the genre, you'll find yourself on the edge of your seat awaiting a new episode every Monday. If you can never get enough true crime... Congratulations, you’ve found your people. Follow to join a community of Crime Junkies! Crime Junkie is presented by audiochuck Media Company.
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.