Approved | 30min | Drama, Fantasy, Mystery,TV Series | Episode aired 15 November 1960
Just before he falls asleep, a man is suddenly aware that there is another life that seems to be in direct conflict with his own. He is astounded to discover that he has stumbled upon what seems to be a parallel universe - one in which he also exists - but in not quite the same way he does in this one.
Director: John Newland
Writers: Merwin Gerard, Lawrence B. Marcus
Stars: Mike Kellin, Ruth Storey, Alex Gerry
Just before he falls asleep, a man is suddenly aware that there is another life that seems to be in direct conflict with his own. He is astounded to discover that he has stumbled upon what seems to be a parallel universe - one in which he also exists - but in not quite the same way he does in this one.
Director: John Newland
Writers: Merwin Gerard, Lawrence B. Marcus
Stars: Mike Kellin, Ruth Storey, Alex Gerry
Category
🎥
Short filmTranscript
00:00You're about to see an incredible human document, an encounter with forces that no one on this
00:07earth really understands.
00:09You may find it shocking, impossible, but it is nevertheless evidence of a universe
00:16beyond the power of our five senses.
00:34Huts just like this are found all over Mexico.
00:39Well, not exactly like this.
00:45Well, here high in the Sierra Madres, a hundred miles south of Rio Grande, a strange thing
00:52has been happening.
00:57Something very strange.
01:02This oil painting is called La Tormenta, The Storm, quite properly too.
01:10It will create a furor in art circles, and perhaps will become the most hotly disputed
01:18canvas in the history of modern art.
01:21The paint isn't quite dry, you see it was just finished tonight.
01:27The artist, he died three years ago.
01:40Well, I don't know, honey, it says so pretty clearly right here.
01:46Joe, I tell you, Pedro Castera couldn't have painted that picture.
01:51Why not?
01:52He died before it was painted.
01:54That can't be.
01:55Look, there's a signature right there.
01:58Pedro Castera.
01:59Then it's a fraud.
02:01A fraud?
02:02Look, it's the best one of the whole bunch, you know this one won a grand prize?
02:05Somebody else must have painted it.
02:07I beg your pardon, madam.
02:08I'm the curator of this museum.
02:10Did I understand you to say this picture is fraudulent?
02:14I say Pedro Castera did not paint this picture.
02:17You seem very sure of that.
02:18I am.
02:19You see, my wife and Mr. Castera attended the Art Institute in Chicago together.
02:23And he died before this picture was painted.
02:25Madam, this is one of the finest examples of his work.
02:28This is not his work.
02:30Hey, Adele, for the love of Mike.
02:32Joe, I know.
02:33Pedro wanted to paint this picture and he did a preliminary sketch of it in watercolors.
02:37I saw it.
02:38He planned to do it in oils when he got back from Korea.
02:41He said so in a letter that he wrote to me.
02:43A letter from Korea.
02:45A letter that was dated the day before he was killed in action.
02:49I still have the letter at home.
02:52I'm sorry, madam.
02:53We've kept the exhibit open a little later than usual today, so if you don't mind.
02:57You don't believe me, do you?
02:58No, madam, I do not.
03:00But I'm telling the truth.
03:01Adele, you heard the man.
03:03Now come on, let's go.
03:07He couldn't possibly have painted this picture.
03:35Joe.
03:36Joe, darling, are you asleep?
03:38What?
03:40I wanted to know if you were sleeping.
03:42Oh, honey, I was.
03:45Look, Joe, I'm sorry, but...
03:47Joe.
03:51Hey, honey, it's two o'clock in the morning.
03:53The alarm is set for seven.
03:57Do you feel all right?
03:59Yes, darling, I'm fine.
04:00Are you sure?
04:01Yes, I'm sure.
04:03Well, turn out the light and go back to sleep, huh?
04:10Joe.
04:11I'll get you a sleeping pill.
04:12Joe, I don't want a sleeping pill.
04:13I want to talk to you.
04:15Peanut butter, maybe?
04:16No, Joe, darling, please listen to me.
04:18Sour pickle?
04:20Oh, no, let's not get on Castera again.
04:26Joe, he's on my mind.
04:29I can't seem to get him out of my mind.
04:33I don't know, my...
04:35My nerves seem to be all...
04:39Hey.
04:41Wait a minute.
04:42Adele.
04:44Were you in love with Pedro?
04:48Joe, come on.
04:49No, no.
04:51Seriously, were you?
04:53Oh, darling, of course not.
04:57It was just a sweet thing, that's all.
04:59Okay.
05:02Come on, come on, back to bed, huh?
05:11Joe.
05:14Joe, I've simply got to find out who did paint the storm and why they painted it.
05:20Oh, you're absolutely convinced somebody else painted it.
05:23Absolutely.
05:24Pedro couldn't have painted it.
05:27And yet there's nobody else that could have.
05:32Well, maybe Castera came back from the grave and painted that picture.
05:37That's ridiculous.
05:40Isn't it?
05:41You bet.
05:46Well, maybe one of the students copied it.
05:48A thousand things could have happened.
05:51What are you worried about?
06:04I'm sorry.
06:06But suddenly I feel so disorganized, Joe.
06:08Well, honey, you know that's only natural at a time like this.
06:12It's not natural.
06:14I didn't feel this way until I saw that picture today.
06:17Well, sweetheart, life is full of unexplained little mysteries.
06:23Joe.
06:24Hmm?
06:26San Luis del Cordero is only a hundred miles past the border.
06:31So what?
06:34Well, I want you to take me there.
06:37What for?
06:39You see, that's the town where Pedro was born.
06:41Oh, honey, please.
06:43Joe!
06:44Joe, you've got to help me.
06:46Sweetheart, it's going to be too dangerous to be that far away from Dr. Snow.
06:49Please, I must. I simply must.
06:52Okay, okay.
06:56All right.
07:01Well.
07:03Hey, if we don't see Yellowstone National Park, maybe someday our kids will, huh?
07:09All right.
07:11All right.
07:19Oh, Joe, I love this place.
07:22The whole place has a sort of peaceful feel.
07:25Jorge, trae flores para la señora.
07:30Oh, wait a minute. Here.
07:33Are you still sorry you came?
07:35Well, I will let you know in just one minute.
07:37This is our finest room, señor.
07:39But maybe I'll give you a softer bed.
07:41No, no, no. It's okay, really. It's just like home.
07:44I sent for flowers for the señora.
07:47Señor, do you know the señora Castera?
07:51The mother of Pedro Castera?
07:53Yes.
07:54Pedro was a friend of mine.
07:56We went to art school together in Chicago before the war.
07:59SÃ.
08:01Pedro was a fine boy.
08:03Yes, and a very fine artist.
08:05My husband and I just saw one of his exhibitions.
08:07SÃ.
08:09Señor, do you know where the señora Castera lives?
08:12Oh, sÃ, señora.
08:15At the hacienda at the end of the road.
08:17If you are friends of Pedro, she will be very glad to welcome you.
08:22The señora is very good.
08:24Since the paintings of Pedro sell for big money, she help everyone in the village.
08:30Well, I'm sure that's what Pedro would have wanted her to do with the money.
08:33SÃ, señora.
08:35Con permiso.
08:39Joe.
08:40Joe, let's go right now.
08:42Sure.
08:43We will go right now.
08:45Joe!
08:51I cannot tell you how happy it makes me to meet one of my Pedro's American friends.
08:56I just hope we're not intruding, señor.
08:58Perhaps I am intruding, Margarita.
09:00On such an important occasion.
09:02Oh, no, father.
09:05The father and I are old friends.
09:08He loved Pedro almost as much as I.
09:11SÃ.
09:14You are an artist, too?
09:17Well, not exactly.
09:20After I finished art school, I married in Mexico.
09:23After I finished art school, I married and then I became a fashion illustrator.
09:28Oh.
09:30But Pedro really had the talent.
09:32The instructors at school always said that someday he would be famous.
09:37Yes.
09:39And he's very happy about it.
09:43The señora often speaks of her son as if he would...
09:46As if he were alive.
09:48Yes, it is one of, how do you say, a fantasy of mine.
09:54I understand, señora.
09:56Pedro is an only child.
09:59My husband was a doctor.
10:01After we were married, we came to live here in San Luis del Cordero.
10:06My husband, he wanted my son to be a surgeon.
10:12He had such delicate hands.
10:15Oh, but I must not go into this.
10:19Your señora is admiring one of Pedro's watercolors.
10:23What?
10:24Yes, I am.
10:26Adele.
10:30Joe.
10:34Joe, that's the picture I was talking about.
10:36Yeah, the storm.
10:38Yes, that is what Pedro called it, the storm.
10:43It won the Grand Prix in Paris last year.
10:46Many times I've been asked to sell it, and for much money.
10:50But this I cannot do.
10:52No.
10:54Señora, there's something I don't quite understand.
10:59Something that perhaps you can explain.
11:03Si, my dear.
11:05I saw this picture once before in 1951.
11:09Pedro planned then to paint it in oil.
11:11And yet I'm so sure...
11:14You are so sure of what?
11:19I'm sure he didn't.
11:21But you saw the oil painting.
11:24Yes, father.
11:26And I know that Pedro planned to paint it.
11:30He said so in a letter that he wrote to me.
11:32A letter he wrote the day before...
11:35The day before he was killed in action.
11:37I am sorry to be inhospitable.
11:39But I must ask you and the Señor to leave.
11:42Margarita.
11:49Please leave.
11:57And you must never return here, do you hear me?
12:00Never.
12:02And you must never return here, do you hear me?
12:05Never.
12:14They must not find out.
12:19Honey, please, look.
12:20It's no use getting yourself all worked up over it.
12:22Please.
12:23Look, look.
12:24We'll have a good dinner tonight, and tomorrow morning we'll go.
12:27All right?
12:28Key, please.
12:29I'm very sorry, Señor.
12:31I made a mistake.
12:33Your room, Señor, it was reserved.
12:35Well, give us another room.
12:37Very sorry, Señor.
12:38All the rooms are reserved.
12:41All the rooms?
12:43Very sorry, Señor.
12:45There is your luggage.
12:51Well, how do you like that?
12:55In plain words, you just want to...
12:57You want us to get out, is that right?
12:59Señor, it...
13:00It is difficult to explain.
13:03Joe.
13:04Don't argue with him.
13:05I'm not arguing with anyone.
13:06I'm going to find out what's going on around here.
13:09Now look, just an hour ago you gave us the finest room in your hotel.
13:12And now you're kicking us out?
13:13Why?
13:15It's difficult to explain, Señor.
13:17What do you mean you cannot explain?
13:19What is this?
13:20Some kind of bums rush or something?
13:22Señor, please.
13:23Do not make trouble, Señor.
13:24He's making the trouble?
13:26Now look, we've come a long way.
13:29My wife's going to have a baby.
13:30She needs rest.
13:31Señor, believe me.
13:33You must go from our village.
13:34For your own good.
13:36Well, why?
13:37What have we done?
13:38Our people do not want you here, Señor.
13:41Joe, I'm not tired.
13:43Let's just get our baggage and go.
13:47Okay.
13:48Okay.
13:50Okay.
13:51Okay.
13:55Madame Lafarge is giving me the creeps.
13:56Come on, Joe.
14:00I'd like to punch somebody right in the nose.
14:13What the devil's the matter with this thing?
14:15You're flooding it.
14:16Wait a minute.
14:17I just want to get out of here.
14:20I don't understand it.
14:23Everyone was so nice to us when we came here.
14:26Why did Pedro's mother get so angry?
14:29Why is everyone acting so strangely?
14:32Poor Joe.
14:33Joe, you don't think Pedro is alive and living here in this village, do you?
14:37Honey, I love you.
14:38And I love myself.
14:39Now, there are just some questions not worth finding the answers to
14:42if it means getting your throat cut.
14:45Maybe we're out of gas.
14:47No, the tank is full.
14:51What's that?
14:53Huh?
14:54Coyote.
14:56How would you know?
14:58Oh, honey, there's got to be a logical explanation for something around here.
15:02Joe.
15:04Joe, I'm really scared.
15:06No, no, no, no.
15:07Come on now.
15:08We'll be moving in a minute.
15:09What are you doing back there?
15:11I know about painting.
15:13What painting?
15:14What are you talking about?
15:16Painting of Pedro Castero, senor.
15:18What do you know, Juanito?
15:20Look, Adele, I don't care what this kid knows.
15:22I'm fed up with this whole bit.
15:23Now, look, Juanito.
15:24Just open the door and get out.
15:26I show you, senor.
15:28Muchas gracias, but no thanks.
15:30Just open the door and get out.
15:32Juanito.
15:34Juanito.
15:36Juanito.
15:37Juanito.
15:38Just open the door and get out.
15:40Juanito, what will you show us?
15:42What you came here to find out.
15:45You turn, see.
15:47Drive that way.
15:49Juanito, do you understand plain English?
15:52Plain English?
15:53Yeah.
15:55SÃ, señor.
15:56Good.
15:57Open the door and get out.
15:59SÃ, señor.
16:00You turn.
16:02See.
16:03Drive that way.
16:05What am I going to do with him?
16:06You no afraid of Juanito, senora?
16:07I'm not afraid.
16:09I'm afraid.
16:11You turn, senor.
16:12Try that way.
16:14Go ahead, Joe.
16:15Adele, where's the logic in this?
16:17I don't know.
16:18Adele, for the...
16:19Just go ahead.
16:20Oh.
16:25Lead on, Juanito.
16:27Senor, senora, come.
16:38Oh, you know this kid's on the level.
16:40Maybe he's leading us into a trap.
16:42Juanito friend to senor and senora.
16:44Yeah, so was everybody else in this town when we arrived.
16:48You know where I wish we were right now?
16:49Home.
16:53Watch.
16:57Senor, senora, el tÃo, Uncle Tomás.
17:07Buenas noches, senores.
17:09Good evening, senor.
17:11I need water to bring us here.
17:14TÃo, ¿les puedo enseñar?
17:16SÃ, si el padre lo desea.
17:20SÃ.
17:28These cakes, they're oils.
17:32Just like Pedro used for impasta.
17:35In fact, I think these were Pedro's.
17:38Senora, son de Pedro.
17:43What are they doing here?
17:46Did you...
17:48Did you paint the store?
17:51Juanito.
17:53Juanito.
17:55Dice la señora que si tú pintaste la tormenta.
18:00SÃ, señora.
18:02Well, now that solves the mystery.
18:05Everybody in the village knows this,
18:06and they didn't want anybody else to find out.
18:09But why not?
18:11Juanito, why did your uncle sign Pedro's name to that picture?
18:15Dice la señora que porque filmaste el nombre de Pedro en la pintura.
18:21Porque Pedro la pintó, señora.
18:24He say it because Pedro, he paint picture.
18:27Adele, obviously, the man is senile.
18:30Juanito, if your uncle had signed it himself,
18:33he would be rich and famous.
18:35SÃ, señora.
18:37But then why didn't he?
18:39Buenas noches, Tomás.
18:41Buenas noches, padre.
18:43El señor, señora.
18:48El padre nos dice venir.
18:51SÃ, Juanito, sÃ.
18:53Gracias, gracias.
18:56I asked Juanito to bring you here because I feel
18:59when you go back to your country,
19:01you cannot forget what has happened in our village.
19:04Oh, you bet your life we won't.
19:06And you would go to the institute and newspapers
19:09and ask questions.
19:11And soon everybody would ask questions.
19:14I'm afraid you're right, father.
19:17This I did not want.
19:19You see, Pedro Castera is beloved in our village.
19:24He did good work here.
19:26And his good work continues to live after him.
19:29My people wish to protect him.
19:32Can you understand?
19:34Yes.
19:36But I don't understand this.
19:38If Juanito's uncle painted a picture that won a Grand Prix in Paris,
19:42why wasn't the fact made known to the public?
19:44Yes.
19:45And why were we thrown out of town?
19:53Three years ago, Pedro Castera came to Tomás in a dream.
19:59He told him to take cannabis and oils and paint the storm.
20:04A few months later, it was done.
20:07And thus, a so-called miracle occurred.
20:11A miracle our people vowed to keep to themselves,
20:15to share with no outsiders.
20:18I'm sorry, father, but it doesn't sound like a miracle to me.
20:23Tomás, señora, has never painted a picture in his whole life before.
20:29Obviously, he has a great deal of natural talent.
20:32And he certainly had enough time to study Pedro's style.
20:36Such things have happened before in the art world.
20:39Now, Adel, look.
20:40If the people in this town want to believe it was a miracle, let them.
20:44Say, what about you, father?
20:47Do you believe it was a miracle?
20:50I cannot say, señor.
20:52I will let you decide for yourselves.
21:02Tomás, por favor, mÃrame.
21:07Tomás is blind, my friends.
21:13He has been blind since birth.
21:20If you had to define a miracle, what would you say?
21:26Well, I suppose something like any effect in the physical world
21:32which surpasses all known or natural powers.
21:38It is therefore ascribed to a supernatural agency.
21:45A miracle?
21:48What do you think?
22:02THE END
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