WEBVTT

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Now from Hollywood, romance.

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Romance transcribed stories of love and adventure, of comedy and crisis, of conflict and human emotion.

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Today, a story based on an ancient gypsy proverb.

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An unmarried man is an insult to women.

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Should he also be possessed of youth, vigor and fortune, his crime is the greater.

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Starring Terence Kilburn, Jerry Gaylor and Ben Wright in Irene Winston's story, The Gypsy.

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The Gypsy.

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My father, Sir Roderick Halsey, was only eighteen when I was born.

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So we more or less grew up together.

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At thirty-eight, he was typical of most sophisticates in that he fancied himself a simple man.

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Until he met the girl.

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She was the essence of simplicity.

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He took one look at her and forthwith dispatched a letter to my London quarters.

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Have young girl on my hands and need help.

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Come home at once, father.

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Have another, father.

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Jeff, you have no idea how nerve-racking it is to step out of bed in the morning

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and literally trip over a young girl who apparently spent the night asleep on the floor.

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Really?

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I swear to you that I never set eyes on her before.

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Well, that is, I did see her once but I didn't really look at her.

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I mean, she's a gypsy. She doesn't even speak English.

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Will you stop being smug and superior and I'll show you. Come along.

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There, there, see for yourself. Now, is she or is she not a gypsy?

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Your taste is impeccable as always. Even in gypsies.

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But that costume. Oh, of course, naturally.

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And my old britches and shirts. You mistook her for me.

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Your eyes are just as bad as your lies, father.

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She was incredibly filthy so I had a bath prepared for her and I had her clothes burned.

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She had to wear something.

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Hello. Hello. And hello.

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I told you she doesn't speak English. Will you stop that?

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Stop what? Stop being so charming.

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It all started when father discovered a gypsy caravan camping in the lower meadow

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and he rode out to see them. It was quite eerie.

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About a hundred of them sitting around in a circle,

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all acting as if he were invisible or they were deaf.

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They were all watching a dirty old crone who stood in their midst

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dipping a stone mug into a pail of water.

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Was she alone? No, there was a rather youngish man

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and the girl you just saw was standing right next to her.

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I see. First your gypsy girl drank from the stone mug

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and then she gave it to the young man, right?

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Well, she tried to but I was so angered by this time

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that I knocked it out of his hands and dashed it to the ground.

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There was a fight. Who won? I did, naturally.

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Wait a minute. I thought you came down from London only after you received my letter.

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How do you know all this? Later, sir, if you don't mind.

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Now, after the fight, did you drink any of the water?

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Well, there was nothing wrong with it. It was perfectly good well water.

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My heartiest congratulations. Huh?

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On your marriage. What?

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First you beat the other man. Then you publicly drank the water.

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It's all terribly symbolic.

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One more thing. When you returned home, did you think you'd lost any money?

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How much was it? Well, it was a few shillings is all I had.

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Well, there's no doubt of it now, sir. You've even paid the price for the bride.

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A few shillings, eh?

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Well, at any rate, you've got a bargain. She's a beauty.

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To further complicate his life, my father had also sent an urgent message

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for help to his great and good friend, Lady Angela,

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a capable woman whom over the years I had been forced to call Aunt Angela

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as a concession to father's respectability,

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an appellation I heartily despised because she was not a blood relative.

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What a dreadful experience for you, Roderick.

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There's really no cause for concern.

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Well, how can you be so calm?

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This marriage has no legal standing whatsoever.

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You can simply pack her off back to her people.

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But they've gone. They've completely disappeared.

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Post a large reward for any knowledge of their whereabouts.

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Money sometimes improves the eyesight of the peasants.

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I've already done that. It's what to do about her in the meantime that worries me.

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I can't just throw her out. She's too young.

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I noticed that.

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And besides, she's your wife. Yes.

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And my new mother. Really, Geoff.

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Will you stop that nonsense, Geoff?

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Don't worry, my darling. I'll be with you just as long as she is.

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I'll see if I can make myself understood by your gypsy.

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Father... Unless you have a practical suggestion, please, please be quiet.

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Well, I'll take one of them off your hands.

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Ah!

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It's all right, Rang. Try to calm yourself.

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What happened?

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I was trying to make a change into a dress and she attacked me.

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Bravo! Bravo!

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She was trying to choke me with corsets.

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As if I need these things.

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You shameless girl, if you must.

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In front of my own husband. Why?

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Why didn't you let me know that you spoke English?

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I speak nine other languages as well.

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Please answer my question.

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I was bringing to you, my husband, the two greatest gifts a woman can bring.

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Submission and silence.

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Will you stop it, Geoff? What is your name?

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The same as yours. Isn't that the English custom?

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Oh, no. He means, what was your name?

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Kira Bothwell.

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Bothwell? What writer's a gypsy is such an old English name?

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My people roamed the roads of England long before your people left their trees.

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I'll have you know, my family came...

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Never mind that now, please.

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Just exactly, what are you doing in my house?

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Waiting to truly become your wife.

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You fought for me well. You publicly drank of the water.

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So, here I am.

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You make it sound very simple.

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Oh, it will not be easy.

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I feel a natural revulsion for a Giorgio.

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A what?

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A Giorgio. The Romany word for foreigner.

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Oh.

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But I'm resigned.

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I will overcome my distaste for you and I will try to make you a good wife.

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I bow to my fate.

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You don't have to trouble yourself on my account.

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I mean, it's perfectly all right.

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It is written in the tarot.

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Fortune telling cards.

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What superstitious rot.

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My dear girl, gypsy or not, stop living in the dark ages.

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This is England 1746.

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Well, Kira, how about telling my fortune?

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I am your fortune.

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Oh, I thought you were mine.

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We should make up your mind.

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There are two kinds of fortune.

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Good and bad.

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No.

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What? What?

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Who is it?

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Who is here?

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Your wife.

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Oh, no.

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Now, now, now, see here.

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Put your arms around me, please.

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Look here.

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I am trying desperately to maintain a friendly, fatherly interest in you.

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But you must go back to your own room for your own protection.

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But there is nothing personal in my holding you close like this.

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Or kissing you like this.

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I don't particularly want you.

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But I cannot fight against my own destiny.

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It's becoming increasingly difficult for me, too.

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You are very beautiful, you know.

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Thank you.

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Did you like to kiss me?

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Very much.

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Good.

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Then claiming me for your wife won't be so bad after all.

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Now, now, really, if you go back to your room immediately,

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I absolutely refuse to be taken like medicine.

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Every time I look for your father, he is in the stable with a black stallion.

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Why doesn't he look like me like that?

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That horse is the last thing you ought to be jealous of.

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The father is just about ready to have him destroyed.

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He's quite mad.

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He certainly is.

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No, I mean the horse.

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Oh, I mean your father.

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He knows nothing about either horses or women.

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Jeff, look at me.

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Tell me the truth.

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Is your father ill?

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I suppose he must seem that way to you.

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Can there be any other reason why he runs when I come near him?

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You see, he feels a sort of paternal responsibility to you because you're so young.

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I'm as old as you.

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And that is already older than he will ever be.

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I think your beauty frightens him a little too.

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Does he want an old and ugly wife?

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I will never understand his English.

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No, you see, he doesn't want any wife.

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My mother died when I was born.

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And well, he never quite got over it.

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Jeff told me you still mourn for his mother.

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I, I loved her very much.

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What do you remember most about her?

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How do you see her?

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What did she like to do?

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I always see her arranging flowers.

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She was rather like a flower, a bud, really.

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She was so young when she died.

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Do you like flowers too?

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Very much.

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Ring for the servants.

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Have them remove every flower from this house immediately.

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And order them never to bring another one into this house.

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Why?

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Mourn for your wife like a gypsy.

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Live without flowers in her memory.

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But don't try to live without love.

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I do hope you won't mind, Roderick.

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I've been talking with Cook and planning some of the menus.

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I thought dinner tasted exceptionally fine this evening.

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How very kind of you.

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Aunt Angela selected the wine too, didn't you?

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Yes. Did you like it?

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Perfect. I have no idea you were so accomplished, my dear.

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I always thought of you as merely decorative.

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Thank you.

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You find that amusing, Kira?

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No. Clever.

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Next to me you are not decorative.

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So you must be something else as well.

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I'm not a woman.

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Halsey Castle had certainly changed from a bachelor establishment.

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Lady Angela was there to chaperone Kira.

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And at my suggestion, a father sent for his cousin Estelle to chaperone Lady Angela.

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When a woman reaches her 80th birthday,

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anyone who chooses to create a scandal either finds himself labelled as insane.

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Thank you for the implied compliment.

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So long as I'm here, your reputation and Angela's will be safe.

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Of that you can be certain.

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Angela, you have the most beautiful manners.

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You conceal your hatred of my presence in this house admirably.

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Thank you.

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It is quite an effort too.

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I know. If only Roderick, poor dear, would react to your overtures and propose.

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Since you're being so very candid, let me assure you I've thought of everything to get rid of you.

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Short of murder.

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Have you thought of bribing me?

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I'm dreadfully poor, you know, and I don't exactly enjoy spending my declining years as a paid family chaperone.

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Oh, Angela, you do know how to soothe a headache. Your hands are so cool, beautiful.

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Keep still now. I'll rub your neck.

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Jeff wants to see you in the stable.

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Oh, something about the black stallion I'll warrant. I'll have to do something about him.

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I'll be back directly, Angela.

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Whether you like it or not, remember he is my husband.

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I'll remember that only after he does, not before.

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Let go of my arm before I forget myself.

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That would be impossible.

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There. Don't try to massage his poor, poor headache away anymore today.

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Are you warning me?

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No, I don't have to. You can't move your arm. Try to move it.

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I can't.

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What?

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Oh, I can't move it. You put a spell on me. My arm's paralyzed.

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Anytime you find it difficult to keep your hands off my husband, I will be glad to help you.

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We'll return to romance in just a moment.

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Hello, I'm Bob Trout.

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Covering Big Stories is synonymous with CBS Radio.

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And we're bringing you two of the biggest in the days and weeks ahead, from Chicago and San Francisco.

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Direct from both convention halls, CBS Radio will bring you all the highlights with a team of 20 top correspondents.

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On our staff will be Richard C. Hodelet.

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Covering Big News is an old story for Dick Hodelet,

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a roving correspondent all through the last war and a veteran at analyzing the political scene in Germany.

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Jailed by the Nazis for his reporting, Dick emerged as one of the finest newsmen in post-war Europe.

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He returns to the United States now for CBS News to bring you the political drama in the days ahead.

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We'll be bringing you the best on CBS Radio with Edward R. Murrow, Eric Severide, calling all the political plays just as they break.

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It's CBS Radio for all the color, background, and spot news.

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Be with us for both conventions. Thank you. This is Bob Trout speaking.

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And now for the second act of romance.

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News of Keira spread around the countryside and naturally we had many visitors, including Bertie.

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Or if I must be formal, the Earl of Hampshire.

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Bertie is the sort most foreigners call typically British.

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But as a matter of fact, most Englishmen can't understand him either.

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Thought to myself, I'll see the gypsy wretch with me own eyes.

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Go to Bertie and try speaking a little slower.

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Oh, of course.

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Father, oh, I'm sorry to interrupt.

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Jeff.

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Hello, sir. Father, did you shoot that Black Stallion?

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No, I asked one of the stable boys to do it.

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Well, he's not in his stall and Angela thought she saw Keira right out on him.

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Good Lord, Jeff, he's a killer.

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Every man who could joined the search.

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We rode for hours, didn't see a trace of either the horse or Keira until...

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There he is in the lower meadow.

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Couldn't get close enough to shoot the beast hook off again.

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Never mind him. Keep looking for Keira.

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Right.

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Keira! Keira!

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You see anything, Jeff?

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No. Keira!

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Keep looking. Keira!

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Keira!

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Keira!

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I... I... I found her.

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Keira.

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Keira, are you all right?

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Now lie still. Don't try to move till I see if any bones are broken.

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Take your hands off me.

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I'm your father's wife. Show respect.

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Ah, how badly she has.

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Keira, oh, you don't know what I've been through.

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I thought you'd been killed, trampled to death.

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I almost lost my mind.

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Good.

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What?

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You're getting used to me and that's good.

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Oh, I could shake you.

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You're my husband. You could beat me.

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Why don't you?

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Look out there! The beast is coming back!

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Shoot as fast as you can, Bertie.

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No, leave him alone.

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He's insane, Keira. You're lucky you weren't killed when he threw you.

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Oh, the horse doesn't live that can throw me.

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We had a lovely ride until I got sleepy and laid down here to take a nap.

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Leave that horse alone!

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Don't you dare to shoot!

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No!

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I'm sorry. I had to stop you.

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Frederick, give me the horse, please.

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But he's dangerous.

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Not to me.

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Come here, Magic.

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Come here, boy.

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Oh, you would name him Magic.

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Come here, Magic.

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Come to Keira and be loved.

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See, Rodney?

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The horse is saner than you are.

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I gained a strange respect for Father as I watched him struggle,

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even though I couldn't for the life of me understand why he tried so hard.

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He attempted to explain.

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I have to maintain my own integrity as a logical man.

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I don't believe in foretelling the future or the madness of the moon

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or spells and curses or any of that superstitious rot.

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And furthermore, I don't believe I feel very well.

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Keira, I always thought that gypsies could make love, Persians.

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They can?

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Well, why don't you fix one for Father?

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I'll manage to put it in his morning tea.

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I don't want to force him to love me, not unless I have to.

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Not the sporting thing to do, is that it?

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Yes.

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How very English you've become.

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Ah, there you are, Jeff. Good evening, Keira.

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Are you ready for dinner, I believe?

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Jeff Doocy was keeping Angela and Cousin Estelle.

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Oh, never mind. Here they are.

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Oh, you look lovely, Angela.

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Thank you.

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Cousin Estelle, how was your nap?

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I'd much prefer it if you said I was lovely

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and asked Angela how she slept.

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But I slept well and now I'm hungry.

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Well, shall we go in?

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Keira, aren't you joining us?

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I will not eat this week.

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Did you say this week?

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The full moon is almost here.

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I think to stop disaster from joining our lives,

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I must do something.

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Oh, this has been a most pleasant day.

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Let's not spoil it now.

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I will talk of the supernatural or foretelling the future.

18:58.000 --> 19:01.000
For seven days and seven nights, I will not eat.

19:01.000 --> 19:03.000
Why do you only make yourself ill?

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I will gather herbs and roots and leaves and dry them.

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There's a lovely joint of mutton this evening.

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Then I will press them into a thin little cake

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to keep next to my heart,

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until what is in my heart goes into the cake.

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This makes the magic.

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Is that all?

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No, Angela.

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In the dark of the night,

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I will walk backwards towards water

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with my eyes closed tightly.

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You could break your neck that way.

19:28.000 --> 19:29.000
You be quiet, Roderick.

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Go on, Keira.

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I will eat the cake and then I will turn and face the water.

19:34.000 --> 19:36.000
And when I open my eyes,

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I shall gaze upon the face of my own true love

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reflected in the water.

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How very romantic.

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Well, what happens if you don't see any face at all?

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Then I will die.

19:47.000 --> 19:48.000
What?

19:48.000 --> 19:51.000
I won't want to live without love.

19:56.000 --> 20:00.000
And now, now, oh ancient ones,

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let me gaze upon the face of my own true love.

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Oh.

20:07.000 --> 20:08.000
Oh.

20:08.000 --> 20:09.000
Are you all right, Keira?

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It is your face I see in the water.

20:12.000 --> 20:13.000
Well, naturally I looked over your shoulder

20:13.000 --> 20:14.000
to see what you were doing.

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Didn't you hear me following you?

20:15.000 --> 20:16.000
No.

20:16.000 --> 20:18.000
What are you crying about?

20:18.000 --> 20:20.000
Because you're supposed to love me.

20:20.000 --> 20:22.000
There is no way out now.

20:22.000 --> 20:24.000
What will be will be.

20:24.000 --> 20:27.000
I made a big, fasting hope,

20:27.000 --> 20:29.000
but now there is no doubt

20:29.000 --> 20:33.000
that our old cards made the right prediction after all.

20:33.000 --> 20:35.000
I keep thinking about this dreadful curse of the future,

20:35.000 --> 20:38.000
but I mean, what is supposed to happen?

20:38.000 --> 20:40.000
It is clearly written,

20:40.000 --> 20:42.000
from the father to the son,

20:42.000 --> 20:44.000
and blood will be shed.

20:44.000 --> 20:45.000
Your blood, Jeff.

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You will have to fight your father for me and win.

20:48.000 --> 20:53.000
Oh, in other words, whoever wins the fight, wins you.

20:53.000 --> 20:55.000
It is written.

20:55.000 --> 20:59.000
Father, I have a rather odd request to make of you.

20:59.000 --> 21:02.000
Would you mind terribly striking me hard enough

21:02.000 --> 21:03.000
to draw some blood?

21:03.000 --> 21:04.000
I shan't have to hit you back

21:04.000 --> 21:05.000
because it's only my blood that counts.

21:05.000 --> 21:08.000
You see, you can merely pretend to knock me unconscious.

21:08.000 --> 21:10.000
Oh, Keira's gloomy little prediction.

21:10.000 --> 21:12.000
From the father to the son, and blood will be shed.

21:12.000 --> 21:13.000
Exactly.

21:13.000 --> 21:15.000
But if you cooperate with me, we can stage a fight

21:15.000 --> 21:18.000
like actors do, and neither of us will be really hurt.

21:18.000 --> 21:21.000
And if you don't, I'll have to fight you.

21:21.000 --> 21:22.000
I'll have to fight you.

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Like actors do, and neither of us will be really hurt.

21:25.000 --> 21:26.000
It's all in the interest of love.

21:26.000 --> 21:29.000
I am sick to death of that word, love.

21:29.000 --> 21:31.000
There isn't one person around this entire house

21:31.000 --> 21:33.000
that even knows the meaning of the word.

21:33.000 --> 21:35.000
You mean that you want to marry Keira?

21:35.000 --> 21:37.000
Well, yes, of course.

21:37.000 --> 21:39.000
I mean, I don't intend anything so binding

21:39.000 --> 21:40.000
as an English wedding,

21:40.000 --> 21:43.000
but I won't mind a marriage gypsy style.

21:43.000 --> 21:45.000
Well, I suppose I shouldn't be shocked.

21:45.000 --> 21:48.000
It's probably my fault for not having set you a better example.

21:48.000 --> 21:50.000
Oh, come on, aren't you being rather proper all of a sudden?

21:50.000 --> 21:52.000
Go along with the times, Father.

21:52.000 --> 21:54.000
Remember, this is England in 1746.

21:54.000 --> 21:56.000
Well, I wasn't aware that decency and morality

21:56.000 --> 21:57.000
were so out of mode.

21:57.000 --> 21:59.000
Oh, come now. She's only a gypsy.

21:59.000 --> 22:01.000
As long as Keira remains under my roof,

22:01.000 --> 22:02.000
she's entitled to my protection.

22:02.000 --> 22:04.000
I really think under the circumstances

22:04.000 --> 22:06.000
that you'd be more comfortable in your London quarters.

22:06.000 --> 22:08.000
Do you think seriously that you can stop me

22:08.000 --> 22:09.000
from doing anything I want to do?

22:09.000 --> 22:11.000
I intend to, one way or the other.

22:11.000 --> 22:12.000
Oh, really?

22:15.000 --> 22:16.000
I see, Jeff.

22:16.000 --> 22:18.000
Jeff, Jeff, I am sorry.

22:18.000 --> 22:19.000
I don't know what got into me.

22:19.000 --> 22:20.000
Are you all right?

22:20.000 --> 22:23.000
Oh, Father, how can you be so stupid?

22:23.000 --> 22:25.000
How many times will you have to knock me down

22:25.000 --> 22:28.000
before you realize that you are in love with Keira?

22:28.000 --> 22:30.000
I refuse to be in love with her.

22:30.000 --> 22:32.000
I refuse to believe in magic or in love potions

22:32.000 --> 22:33.000
or any of that rot.

22:33.000 --> 22:35.000
I am first and foremost a logical man.

22:35.000 --> 22:37.000
You're also a miserable man.

22:37.000 --> 22:40.000
Well, naturally, but I have every reason to be.

22:40.000 --> 22:42.000
Roderick, suppose I prove to you

22:42.000 --> 22:45.000
you have just as much reason to be happy.

22:45.000 --> 22:47.000
Can there be anything in the world

22:47.000 --> 22:51.000
more logical than for a man to fight for the woman he loves,

22:51.000 --> 22:53.000
even an Englishman?

22:53.000 --> 22:55.000
Keira.

22:55.000 --> 22:58.000
Oh, Keira.

22:58.000 --> 23:03.000
BAND PLAYS

23:13.000 --> 23:16.000
Romance is produced and directed by Anthony Ellis.

23:16.000 --> 23:19.000
Today's story was written by Irene Winston.

23:19.000 --> 23:21.000
Stared in the Gypsy were Terence Kilburn,

23:21.000 --> 23:23.000
Jerry Gaylor, and Ben Wright.

23:23.000 --> 23:25.000
Others in the cast were Norma Varden, Peggy Webber,

23:25.000 --> 23:26.000
and Stan Jones.

23:26.000 --> 23:28.000
Musical supervision by Carl Fortina.

23:28.000 --> 23:30.000
This is Dan Cuberley inviting you to hear

23:30.000 --> 23:34.000
Romance transcribed next week at this same time.

23:34.000 --> 23:37.000
BAND PLAYS

23:42.000 --> 23:44.000
With Eddie Collins conducting the band,

23:44.000 --> 23:46.000
Jim Lowe is your host,

23:46.000 --> 23:48.000
and with an exciting array of guest stars,

23:48.000 --> 23:50.000
don't miss Upbeat Saturday Night

23:50.000 --> 23:54.000
when it's on the air again over most of these same stations tonight.

23:54.000 --> 23:56.000
Stay tuned for Gunsmoke,

23:56.000 --> 24:24.000
which follows immediately over most of these same stations.

24:26.000 --> 24:29.000
BAND PLAYS