Incident In Ceylon by Theater Five

Summary

Incident in Ceylon – A Detailed Summary

Relic Radio Thrillers presents a gripping Old Time Radio adventure titled "Incident in Ceylon," performed by Theater Five. Released on June 27, 2025, this episode masterfully intertwines elements of mystery, suspense, and espionage, set against the exotic backdrop of Ceylon (modern-day Sri Lanka). The narrative delves into themes of superstition, betrayal, and the clash between Western rationality and local beliefs.

Setting the Scene

The story unfolds in a grand tea plantation in Ceylon, owned by Mary and her husband, Peter, alongside their loyal servant, Fonseca. The serene environment belies the tension building within the household, as unexplained accidents suggest the presence of a curse.

Rising Tensions and Superstitions

The plot thickens when a heavy Buddha statue inexplicably falls, nearly causing harm to Carol, presumably Mary and Peter's daughter or a close family member. This incident ignites a heated debate between Carol and Mary:

• Carol: "That thing there on the floor. I could have been killed. I was meant to be killed. And you say it isn't true." ([02:03])
• Mary: "I'm saying a fallen statue does not prove black magic. Nothing that's happened proves it. And this doesn't either." ([02:10])

Carol firmly believes that the accidents are manifestations of a curse, while Mary, a long-time resident of Ceylon, attributes them to natural causes and human error. This ideological clash sets the stage for the unfolding drama.

Unveiling the Suspicion

As the incidents continue—such as slashed clothing and near-fatal accidents—Carol becomes increasingly paranoid, suspecting black magic and witchcraft. Mary remains skeptical, urging logical explanations and blaming recent tensions, such as Carol being sacked earlier, for the misfortunes.

Key exchanges highlight the growing mistrust:

• Carol: "There is [a curse], and it's happened to me." ([02:26])
• Mary: "Why did it break? When I was under it that very minute, something made it fall something evil." ([03:19])

Mary's attempts to rationalize the events are met with Carol's unwavering belief in a supernatural cause, further straining their relationship.

The Descent into Obsession

Peter, caught between his wife's fears and the challenges of living in Ceylon, expresses his desperation:

• Peter: "I hate Ceylon. I hate this plantation. Please, please sell it." ([03:36])

Mary, invested both emotionally and financially in the plantation, struggles to alleviate Peter's distress, which only deepens as accidents persist.

Fonseca's Role and Shifting Loyalties

Fonseca, the faithful servant, becomes a pivotal character as suspicions shift towards him. Carol accuses him of orchestrating the accidents:

• Carol: "He's paid a witch doctor or somebody. Out there in the garden there's an evil little capsule buried." ([04:07])
• Fonseca: "I speak, Master. Well, is best if lady go." ([05:48])

Mary assigns Fonseca the task of finding a witch woman to dispel the curse, highlighting her desperation:

• Mary: "I'll bring the police too. These brakes aren't holding right." ([05:48])

As the story progresses, Fonseca's loyalty is called into question, especially after Carol's maid, Nona, disappears, adding layers of mystery and betrayal.

Climactic Confrontation

The tension culminates during a fateful drive orchestrated by Mary, intended to fetch a fingerprint expert and involve the police. However, the brakes fail, leading to a tragic accident where Mary is killed:

• Fonseca: "Master. He's dead. Motor car kill." ([17:14])
• Carol: "Your dress is torn... You did this tonight." ([17:30])

The revelation exposes Carol's true intentions. She confesses to orchestrating the accidents and the accident itself to eliminate Mary and gain control over the plantation:

• Carol: "I gave master every chance he wouldn't sell the plantation. I had to kill him." ([18:23])
• Fonseca: "Fonseca will be master now. And lady be wife to Fonsece for you, man." ([19:07])

Resolution and Aftermath

In the aftermath, Carol negotiates with Fonseca for financial gain and complete control, manipulating him with promises of wealth:

• Carol: "20,000 rupees. You understand?" ([18:41])
• Fonseca: "Do not want rupees. Do not want dollars. Tea plantation, lady." ([19:05])

Carol's betrayal and the ensuing tragedy underscore the destructive power of greed and superstition, leaving listeners reflecting on the fine line between belief and manipulation.

Notable Quotes

• Carol's Determination: "I could have been killed. I was meant to be killed." ([02:03])
• Mary's Rationality: "A fallen statue does not prove black magic." ([02:10])
• Peter's Desperation: "I hate Ceylon. I hate this plantation. Please, please sell it." ([03:36])
• Carol's Confrontation: "You're afraid of everything these days. Death." ([09:07])
• Final Betrayal: "I had to kill him." ([18:23])

Conclusion

"Incident in Ceylon" is a compelling narrative that skillfully blends suspense with psychological drama. Through its well-developed characters and intricate plot, the episode explores themes of superstition versus rationality, loyalty versus betrayal, and the devastating consequences of obsession. Theater Five's adept storytelling ensures that listeners are thoroughly engaged, making this episode a standout in the Relic Radio Thrillers series.

Transcript

[Narrator]

Relicradio.com presents stories of mystery and intrigue, espionage and suspense. Hear tales of ticking time bombs, mysterious crime scenes and cloak and dagger action. This is Relic Radio thrillers.

[Announcer]

The other five presents Ms. Mary K. Wells in incident in Ceylon.

[Carol]

Peter. Peter.

[Fonseca]

Yes, lady.

[Carol]

Oh, I didn't call you. Go away, Sand. Master.

[Fonseca]

The statue, lady.

[Carol]

It fell from the wall. It could have killed me.

[Fonseca]

It is the Buddha.

[Carol]

Don't touch it.

[Peter]

I want master to see where it fell.

[Fonseca]

The Buddha. The Buddha.

[Carol]

Move.

[Fonseca]

It is not good sign, Lady.

[Carol]

I know what it's a sign of. Fonse K. I told you to get Master.

[Fonseca]

Master come.

[Peter]

How do you know?

[Carol]

How do you always know?

[Fonseca]

Master come.

[Mary]

Carol.

[Carol]

He comes and you go.

[Mary]

Darling, what is it? What happened?

[Carol]

Look.

[Mary]

What brought it down?

[Carol]

I won't talk in front of Fonseca. I told him to go and he just stands there. Make him go, Peter.

[Mary]

Fonseca.

[Fonseca]

Yes, master.

[Mary]

I go.

[Carol]

Oh, Peter.

[Mary]

Now, sweet, I know what you're going to say and it's simply not true.

[Carol]

That thing there on the floor. I could have been killed. I was meant to be killed. And you say it isn't true.

[Mary]

I'm saying a fallen statue does not prove black magic. Nothing that's happened proves it. And this doesn't either.

[Peter]

Oh, it's another accident.

[Carol]

When one does kill me, maybe then you'll admit there's a curse on me.

[Mary]

Now, pet, listen to me. Here in Ceylon, the nature.

[Carol]

Oh, now don't tell me again there's.

[Peter]

No such thing as a curse, a hex.

[Carol]

There is, and it's happened to me.

[Mary]

I thought an American would be the last person to believe such nonsense.

[Peter]

Ceylon's an ancient country. It's full of weird, awful things the west doesn't know anything about.

[Mary]

It's full of superstition. A curse is nothing but idiotic fear, psychologically induced. You let it happen to you because.

[Carol]

Things happen to me for three days now. Did the statue fall where you'd been sitting half a second before?

[Mary]

It had to be an accident, Carol. No one in Salon. Witch doctor, servant. No Singalese would t with an image of Buddha.

[Peter]

You don't know that.

[Mary]

I do know. I lived here nine years. You've only been here once. But even you ought to know that a statue of Buddha is sacred. But it fell because it's been on that wall for years. It's big and made of heavy teak wood. This piece of hemp that held it rotted away.

[Carol]

But why did it break? When I was under it that very minute, something made it Fall something evil. Oh, darling, please take me away from this horrible place.

[Mary]

You know I have every penny tied up in a tea plantation.

[Peter]

You can get your money out.

[Carol]

You had an offer.

[Peter]

I hate Ceylon.

[Carol]

I hate this plantation. Please, please sell it.

[Mary]

When you came here as a tourist, you loved the island.

[Peter]

The pearl of the Orient. How could I know what it would be like to live here?

[Carol]

Devil dancers, fire walkers, witches. Or know someone would hate me enough to.

[Mary]

Now what?

[Carol]

Fonseca. He's just outside the door.

[Mary]

He's always near me, Carol. You know that. He's a train that way.

[Peter]

And Fingerley's servant who worked for Bachelors don't like American wives. Oh, Peter, don't you see?

[Carol]

He's paid a witch doctor or somebody.

[Peter]

To get rid of him.

[Carol]

Out there in the garden there's an evil little capsule buried. He stole something that was me hair from my brush something I've used. An earring maybe.

[Peter]

And they're in that thing out there.

[Mary]

Whereupon some magician said, abracadabra, the powers of darkness went to work. And you're under a wicked spell.

[Carol]

Yes.

[Mary]

Stop it. Carol Konseke, come in here.

[Fonseca]

Yes, master.

[Peter]

Oh, he won't admit anything.

[Mary]

There's no more loyal servant on the island to you.

[Peter]

Not to me.

[Fonseca]

Yes, master.

[Mary]

Lady believes there's a curse around here. Do you believe that?

[Fonseca]

I do not know, master.

[Mary]

Not bloody likely. Every accident is a logical explanation.

[Fonseca]

I may speak, master.

[Mary]

Well, what is it?

[Fonseca]

If a curse Zananda can break. Curse? Zananda is white witch.

[Mary]

Well, Carol, is that what you want? Send Fonseco down the mountain to the jungle. Bring a witch woman up here for tea and mumbo jumbo.

[Carol]

I don't want any witch near me.

[Peter]

What kind of a place do I live in where there are witches?

[Carol]

I want you to sell the plantation.

[Peter]

And take me away.

[Fonseca]

No, Carol, I. I speak, Master. Well, is best if lady go.

[Mary]

Carol. Carol.

[Peter]

Yes, Peter?

[Mary]

Where were you in the dine? Oh, now, don't tell me. Did you find it?

[Peter]

No.

[Mary]

Jolly well right. You didn't.

[Peter]

How could I? I thought I'd find a freshly dug place with the earth put back. But the gardener stirred up everything just the same. It's there, Peter. That frightful little thing is there. I know it.

[Mary]

Demonology among the flowers. Speed up the whole blasted acre of garden. You won't find any hocus pocus.

[Peter]

Why are you putting on a car?

[Mary]

I'm going down to Colombo on business. I have to see Fulsham by the next tea shipment. Come along.

[Peter]

Would I stay in this House without you.

[Mary]

Well, you'll want to change then. You're a bit grubby from hex hunting.

[Peter]

I'm glad you find it amusing.

[Mary]

I don't, if you care to know. I find it appalling. Wear that new yellow thing, will you, pet? I like it. Yes, and be a good girl. Hurry up, I'm late already.

[Peter]

All right.

[Mary]

I'll fetch your dress while you do things here. Where's the key to the cupboard?

[Peter]

I. Oh yes, my pocket. Here. Hanging right there in front.

[Mary]

Dozens of dresses. Ah, yes, here we are.

[Carol]

Oh, my yellow hat too, please.

[Fonseca]

I say, what's the matter?

[Mary]

Your dress is torn. Look here.

[Peter]

I couldn't possibly be torn. I hung it in then. Peter, it isn't torn, it's cut.

[Mary]

How the devil could. What are you doing?

[Carol]

Well, look. All of them. This dress, this one. All cut.

[Mary]

This is a nasty bit of business.

[Carol]

Oh, stop pretending you don't know what it means.

[Mary]

I said it was a nasty bit of curse.

[Carol]

Clothes. The victim's clothes. Slashed where they cover the heart.

[Mary]

Darling.

[Carol]

Other awful things could have been accidents.

[Peter]

They weren't.

[Carol]

But they could have been. But not this. And nothing human did it. I had the key in my pocket.

[Mary]

Now this can be explained just like the other mischief. How you. You sacked your maid. And you. Nona had a key. She's taken this primitive revenge, that's all there is to it. Now tidy your face and we're off to Colombo. Fonseque. Fonseca.

[Fonseca]

Yes, master. Yes, master.

[Mary]

When I get back from the city, I want you to have Nona here.

[Fonseca]

I cannot, sir. Nona is gone to Calcutta.

[Mary]

When?

[Fonseca]

Last week, sir.

[Peter]

You see.

[Carol]

You see? She couldn't have done it. I put that dress in there yesterday.

[Mary]

Fonseca, you're head servant here, responsible for the other servants. Look at ladies clothes.

[Fonseca]

Master.

[Mary]

You will find out who's doing these tricks and put a stop to it. You break this spell or I'll sack the lot of you.

[Fonseca]

Master, please. Well, lady, go from Ceylon.

[Carol]

Quick.

[Fonseca]

Clothes cut over heart is sign of death. Death soon.

[Peter]

Peter, don't drive so fast. I'm afraid of the curves.

[Mary]

I'm not going fast. Anyway, I'm used to the mountain. You're afraid of everything these days. Death. Look down the gorge. Three elephants. Darling.

[Peter]

Oh Peter, one last time, will you sell the plantation and take me away from here?

[Mary]

One last time. No, my darling, no.

[Peter]

I see.

[Mary]

And one last time, will you use your perfectly good head to get over this obsession? No fetish, no harpy, no evil eye has conjured up this hoodoo. It is being done by human hands. A hoax, not a hex. And directly we'll find out whose hands they are.

[Peter]

Maybe we already know.

[Mary]

Not again. Carol, I trust Fonseca absolutely. He only said you should leave because he believes this nonsense too.

[Peter]

I didn't mean Fonseca.

[Mary]

Well, you certainly didn't mean Nona. She's in Calcutta.

[Peter]

No.

[Mary]

Then who?

[Peter]

My husband. Carol, do you want me to go too? Are yours. Are the human hands trying to frighten me into leaving Ceylon without you?

[Mary]

Carol, you can't mean that.

[Peter]

Oh, forget I said it.

[Carol]

Peter, you're right.

[Peter]

I'm afraid of everything.

[Carol]

Even you.

[Fonseca]

How could you possibly.

[Peter]

I don't want to talk about it.

[Mary]

Oh, neither do I. Oh, please drive slower.

[Peter]

That. That hairpin curve with me.

[Fonseca]

Stop.

[Mary]

The brakes are perfect. When I see Fulsham, you buy some clothes.

[Peter]

If I have time.

[Mary]

Why won't you have time?

[Carol]

Why?

[Peter]

I have an errand. May I take the car?

[Mary]

Of course. What errands?

[Peter]

Never mind.

[Mary]

Now look here, Carol. You're not going to one of these fortune tellers. I won't have it.

[Peter]

You don't need to have it and neither do I. I know my fortune.

[Mary]

Petra. Mom, you'll have to draw a bit closer to the tank.

[Peter]

No petrol, thank you. I. I'd like to speak to a mechanic, please.

[Mary]

Oh, that'll be Marcel. Mom. What's the trouble?

[Peter]

Well, there isn't any trouble. Not yet. But I think there will be.

[Mary]

Ah.

[Peter]

Engine knocking No, I. I expect an accident.

[Mary]

And I'll beg your pardon.

[Carol]

I. I don't know how to say.

[Peter]

This except just to say it. I. I think someone wants me to have an accident. I. I think he'll do something to the car knowing I'll drive it.

[Carol]

I say I want you to show.

[Peter]

Me how he could do that. I mean, things he might do to the engine or brakes or whatever. Can you.

[Mary]

Oh yes, I expect I can. Mum. You want me to check the lot before you take a drive, is that it?

[Peter]

Yes. You're English, aren't you?

[Mary]

Came out from the UK straight after the war.

[Peter]

Well, then there's no use telling you this trouble I'm having may be a curse. You English laugh at such things.

[Mary]

Oh, not me, Mum. Not me. No. I'm out here a long time. 20 years now.

[Fonseca]

I've seen some queer things.

[Mary]

I.

[Peter]

How nice to meet someone who doesn't think I'm losing my mind.

[Mary]

If you're under a curse, mom, showing.

[Announcer]

You the insides of your motor car.

[Mary]

Won'T stop what's going on.

[Fonseca]

You'll want the witch woman Zananda for that.

[Peter]

Well, until today I was sure about the curse. Now I think maybe a man wants what's happening to look like a curse. And then he'll.

[Carol]

He.

[Peter]

Show me how to check the car, please.

[Fonseca]

Righto, Mum.

[Mary]

Well, just lift the bonnet and have a look inside. Carol, you're not eating?

[Peter]

I can't.

[Mary]

The curry is excellent after that Colombo food. It's marvellous.

[Fonseca]

It tastes.

[Peter]

Send Mogra out. Why can't you do anything I ask?

[Fonseca]

Margaret.

[Mary]

Master. Leave the room, will you? I'll ring if I want you. Yes, sir.

[Peter]

Now, where's Fonseca? Why isn't he hovering?

[Mary]

Well, I should think you'd be pleased.

[Peter]

I am, but not with my food. It tastes bitter.

[Mary]

That's absurd.

[Peter]

Oh, not yours. Of course, not yours. These things only happen to me.

[Carol]

I feel sick.

[Mary]

Peter, it's only your imagination.

[Carol]

Of course.

[Peter]

I'm going outside, I've got to have some air.

[Mary]

Well, you do look a bit seedy. Right, come with you.

[Peter]

I don't want you to. Come eat your curry. You can sit there serenely knowing yours is all right.

[Mary]

Carol, so help me. Tomorrow I'll take a sample of your food at Colombo and have it tested.

[Carol]

If tomorrow isn't too late. Tomorrow.

[Peter]

Tomorrow.

[Carol]

Who's that?

[Peter]

Fonseca.

[Fonseca]

Yes, Lady?

[Peter]

Why are you out here?

[Fonseca]

The night, Lady.

[Peter]

Oh, what does that mean?

[Carol]

Go inside at once.

[Peter]

Did you hear me?

[Fonseca]

Yes, Lady. I go.

[Carol]

Oh, before you do, why don't you tell me?

[Peter]

It's best if lady leaves the island.

[Fonseca]

Yes, Lady. Go.

[Peter]

Peter.

[Carol]

Peter, darling, what happened now? My ankle, I. I fell. Something in the path. Fonseca put a thing.

[Mary]

Now, now, now.

[Peter]

Oh, maybe he didn't.

[Mary]

Now, this time, my sweet. You brought this on yourself, wandering about. You tripped in the dark.

[Carol]

I didn't. It was meant to happen. I want Zananda.

[Mary]

What?

[Peter]

The witch woman, I want her. If there is a curse, she'll stop it.

[Carol]

If there isn't, then I'll know it's a. Go and get her, Peter.

[Mary]

All right. Anything to stop all this nonsense.

[Carol]

And take Fonseca.

[Peter]

I'm too sick to go and I won't stay here alone with him.

[Mary]

Yes, pet, yes, yes. How else would I know where to find that woman? Fonseca.

[Fonseca]

Yes, master?

[Mary]

We're going down the mountain. Fetch the motor car. You know this is ridiculous, don't you, Fonseca?

[Fonseca]

No, sir.

[Mary]

Supernatural poltergeist. Rubbish. I told you to find out who's causing these things. Why haven't you done it.

[Fonseca]

I try, master.

[Mary]

And couldn't. Neither can this Zananda woman. But I'll tell you who can.

[Fonseca]

Who, Master?

[Mary]

A fingerprint expert, sir. Ham sir. Leave the print of their fingers. The police have ways of photographing those prints on the back of that Buddha statue. If it was tampered with, there'll be fingerprints. I'll bring this witch woman back to satisfy the lady. But I'll bring the police too. These brakes aren't holding right.

[Fonseca]

Slow sir. Slow.

[Mary]

Handbrake. Oh no. It won't hold either.

[Fonseca]

Master. Jump. Get out of here. Must have jump.

[Peter]

Mogra.

[Mary]

Yes, lady.

[Peter]

What's taking so long?

[Carol]

Where's my gin and tonic?

[Mary]

Is here, lady.

[Peter]

Oh, all right. You can go on to bed. I'll wait here on the veranda for master. No need for you to wait.

[Mary]

Good night, lady.

[Peter]

Good night. Why don't you come, Peter? What's keeping you, darling?

[Fonseca]

Lady. Lady. Whip for muster.

[Carol]

Where is it? Where's the car?

[Peter]

How did you get here?

[Fonseca]

I walk brakes not good in motor car.

[Carol]

Where is master?

[Fonseca]

Not here.

[Carol]

Answer me.

[Fonseca]

Master. He's dead.

[Carol]

Oh no.

[Fonseca]

Motor car kill.

[Carol]

Oh dear heaven. No. Peter. Oh darling Peter.

[Peter]

An accident. It was meant for me.

[Fonseca]

No lady, for master.

[Carol]

You did this tonight.

[Peter]

Out there where I found you.

[Carol]

You did something to the car.

[Fonseca]

Ponseki. No death riding motor car cannot go with master. Yes lady. Police will find what prints of fingers make death in Motoka. Same Prince of fingers and Buddha statue.

[Peter]

What are you talking about?

[Fonseca]

Fingers of lady?

[Peter]

How could I possibly know how to fix them? That's nonsense. But it's crazy. But I take back what I said about you.

[Fonseca]

The curse.

[Peter]

It was on master too. It killed him.

[Fonseca]

No curse, lady. All is made to look like curse by you. I ring up police.

[Carol]

Fonseca.

[Fonseca]

Yes lady?

[Peter]

Come here. Now you listen to me.

[Carol]

I gave master every chance he wouldn't sell the plantation. I couldn't go without money. I loathe salon. I had to kill him.

[Fonseca]

Yes, Lydia.

[Carol]

Now I'll sell this place. There'll be lots of money once aka.

[Peter]

And plenty for you. 20,000 rupees. You understand?

[Fonseca]

I understand.

[Peter]

Well, all right, all right. Now we do have to inform the police. But you'll say nothing about fingerprints. The brakes failed. It was an accident. Now call them.

[Fonseca]

Not enough. 20,000 rupees.

[Peter]

Well, that's $4,000.

[Carol]

Oh, you've never seen that much money in your life.

[Fonseca]

Do not want rupees. Do not want dollars.

[Carol]

What do you want?

[Fonseca]

Tea plantation, lady.

[Carol]

What?

[Fonseca]

Fonseca will be master now. And lady be wife to Fonsece for you, man.

[Carol]

Wife of us stay in this awful place.

[Fonseca]

Prisoner her wife to Fonseci. Lady cannot go from Ceylon.

[Carol]

No. Oh, no. No prison or here.

[Fonseca]

Lady. Lady decide.

[Carol]

Oh, no.

[Announcer]

Theater 5 has presented Incident in Ceylon, written by Nancy Moore, directed by Warren Somerville. In the cast, Mary Kay Wells, Ed Zimmerman, Guy Sorrell and Ian Martin. Script editor Jack C. Wilson. Original music by Alexander Vlastatsenko Orchestra under the direction of Glenn Osser, Executive producer for theater five, Mr. Lee Bowman. We invite your comments write to theater five, New York, 23 New York. That's theater five, New York, 23 new York. This is Fred Foy speaking.

[Carol]

Sam.

[Announcer]

This has been an ABC Radio Network production.

[Narrator]

That's the show for this week, but don't forget, there are thousands more like it at relicradio.com horror, strange tales, science fiction, crime, all available for free. Like to donate to Relic Radio and help keep it all free. You can do that through the website as well. Well, visit Donate relicradio. Com to find out more about that and see the special downloadable sets that are available. My thanks to those who have donated and thanks for listening today. Talk to you again next week.