One-Act Play Collections - Book 10, Part 2 - Free Audiobooks

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(00:01):
The fourth act by Basile McDonald Hastings.
This is a LibriVox recording allLibriVox.
Recordings are in the public domain for more information or
to volunteer. Please visit librivox.org, the
fourth act dramatis personae. Narrator read by April Walters

(00:22):
sir, Philip. Al Kursi read by Thomas Peter.
Mr. Robert V pass, his secretaryread by Alan mapstone.
Miss Daphne, Aloha read by devorah Alan The Voice from the
corner. Read by Philip Gould, the fourth

(00:42):
act seen sir Philip study in Carlton house Terrace.
The room is handsomely furnishedand carpeted in the right wall
slightly up stage is a large window, the doors and the back
wall slightly to laugh. Left the whole of the left wall
and right, half of the back walland the lower part of the right
wall are covered by books down, right?

(01:04):
Is a small set of steps such as is used for getting books from
high shelves. In the center, is a large
writing desk with revolving chair.
There's another chair to the left of desk below.
The desk is a comfortable couch,close to the left.
End of couch is a small smokers table, it is a bright summer
morning and the sun streams in through windows.

(01:26):
Right? When the curtain Rises sir,
Philip a corsi is discovered looking out of the open window
to the right. He's a good-looking
clean-shaven. Young man of about thirty two
shouting through window. Keep your back straight and keep
your right foot still Alan. That's it.
Planted there and make a resolution, not to move it.

(01:46):
Keep your back straight, your boyish.
Cries from outside Bravo middle stomp.
Hey, enter mr. Robert Bell.
Pass. Sir, Philip secretary.
He's a gentleman of about the same age as Sir, Philip
familiarly. Holy say Philip.
There's a girl here and I can't get rid of her confound.

(02:11):
It just when I'm busy coaching the boys and Cricket.
What shall I say coming from window?
That means you want me to see her Robert?
Oh, you should. If I were you she's got the
Artist hat on I ever saw sternlyprivate secretary should have

(02:32):
eyes for the head. Another hat.
What does she want? Won't see well go Dared me to
carry her out. I'd like to crowning Robert,
you're a perfect idiot with women.
Well, I like that. No more than you are with

(02:54):
Cricket. Get rid of her, he returns to
the window, Robert shrugs his shoulders and goes out Phillip
now, shouts further advice to the boys outside mr.
Robert Bell, pause returns. Should I send for the police?
Oh, confound it, Robert. You're worse than useless.

(03:15):
Is she? A lady.
Certainly they should say and she'll go.
If I tell her to show her in exit, Robert smiling talking
through window pitching move it shorter Phil it's better to be a
trifle short than to well up here.
Put a shilling down and try to hit it.

(03:36):
He throws a shilling out of the window now.
Don't fight for it. It afterwards, put that off some
straight Allen. During this Robert shows in Miss
Daphne, Aloha, Daphne is a pretty woman of about 30.
Her clothes are tailor-made and practical, but still very smart,
a rakish little fur hat. He's a touch of individuality to

(03:58):
her appearance. Robert carries her attache case.
Good morning to Robert, put my luggage down.
Robert puts the case on the deskand gazes admiringly into
Daphne's. I Sighs mr.
Vadas exit Robert? Don't scold him.
He's been such good company. Oh, has he will you be good

(04:20):
enough to say what you want? I don't I can't see people
without appointments every moment of my time is occupied
with boys voices, aren't you coming to bed Daphne, Pete's
round. His shoulder at the open window.
I'll take a chair Daphne. Sits in Our left of desk.

(04:42):
Do you mind if I make a note? Mmm.
No, but I shall be glad if you pencil.
Certainly there it is. He gives her one.
This chair is uncomfortable. May, I sit down there on the
couch, just by that dear little table.
She sits on sofa if you like Daphne moves to left and of

(05:02):
couch. She produces notebook from
attache case and places it on the little smokers table, then
she makes a note, certainly Makeyourself at home, Phillip
bending over attache case and noting its contents.
I knew it. I knew it.
You're an actress that case contains the typescript of
foreplay. I know a mile off.

(05:25):
You're an actress. Aren't you indeed.
No I'm an author. Despairingly an author.
Worse and worse. Yes, sir.
Philip accorsi. An author.
Now, you know, why? I am here gloomily, I can guess
for many months. I've been working at a play.

(05:47):
I want you to produce it. Groaning.
Oh Lord. Oh, Lord.
But you produce so many everybody knows, you are behind
the archbishop's theater and they say you have a shared,
please. Please, please.
In the first place. What is your name Daphne?
Aloha Daphne, Aloha, you've never written anything before in

(06:10):
your life. Have you Daphne shakes?
Her head? Of course not.
Suddenly you read a fatuous paragraph in a paper that a play
might be worth a hundred thousand pounds.
So I did, of course you did, youimmediately get an idea.
You tell a friend about it, a literary friend, perhaps she is.

(06:32):
She has had A poem accepted by royalty.
I knew it. His friend encourages, you
haven't forgive her, you write your play, and it's generally a
frog of nonsense. Composed of what you remember of
Charlize and the sign of the cross, the bell of New York and
the Drury Lane pantomime. You Haka, drowned, the managers

(06:54):
didn't Hawk. I couldn't hop well you offered
any way, no one will produce it.So you SOB your heart out and
try and get a job. As a dramatic critic to get your
own back, meekly, and are all beginners the same.
Well, you're something of an exception.
You're the first author that ever got into this room without

(07:15):
an introduction. Now, mr.
Lower, I can't produce your play.
I can't, I won't, I can't I oh if only you knew how I'm
pestered but don't you like it? You're a multi-millionaire
passionately devoted to the Arts.
Passionately devoted to Fiddlesticks, I detest the

(07:36):
theater and all its works. You detest the theater then how
on Earth does it happen? I support the theater because I
can't help myself. It's a family curse.
A family curse. Yes, the first folio of
Shakespeare was dedicated to oneof my ancestors Philip left
Center by small table ever. Since then, the family has been

(07:59):
quite mad about. The drama inherited Millions
certainly but a big share of it is tantamount to a trust fund,
which must be used with theatrical.
Enterprises every decade for instance, I'm practically
committed to presenting Shakespeare.
In a new way. I'm an impresario against my
will. I tell you It must be very hard,
certainly, to have to spend so much money on what you don't

(08:21):
like. Never heard, were the musical
profession? I did enjoy it.
I adore a good musical show. Don't you know, humbugging art
about it. It's real.
It's actual, it's satisfying Lockhart's elephants, and karna
was mumming birds and all that precisely, not forgetting boiled

(08:43):
beef, and carrots. But surely, there are some plays
that are real and actual and satisfying.
I'm sure. Mine is dear me.
Yes, I was forgetting about yourplay.
What's it about myself? Oh, that's that's well, that's
different. Everyone can write one play or

(09:05):
one book? Oh, I've heard that so often
it's truer than you think. Well, my play is in Forex.
She takes out. Ripped.
But there are only three. They're exactly the fourth
remains to be written. Indeed, I'm going to write it
here. My dear lady, I really must ask

(09:26):
you first with your permission. I want to make a sketch map of
the room. What is called a scene plot?
I believe, but I tell you that my time, boys voices are heard
calling from off right, Dad. Dad, Dad.
Going to window, I'll come out in a few minutes.
He closed his window going to window and looking out.

(09:49):
Are those your boys? Yes.
You're a widower, aren't you? Yes, curious, you're a widower
with two boys and I'm a widow with two girls.
Look she produces a locket. There are my two girls, then
suddenly very Charming, their names are Daphne and Ursula the

(10:10):
one on the right is Isla quite so and the one on the left is
Daphne quite so but we must get on with our work mustn't.
We our work. Oh yes, I know.
You'll help. Let me see window up, right?
She makes notes door in backhaul.
Slightly left. Large, writing desk center with

(10:34):
revolving chair below desk, a comfortable couch room for sit
beside me, William. Just room for two, she Rises.
And he after her smokers table to left of sofa, she returns to
steps and sits on them. It is a bright summer morning
when the curtain Rises, sir. Philip accorsi is discovered.

(10:56):
He is a good-looking. Thank you clean-shaven.
Philip feels his chin. Bright-eyed young, man of thirty
33 32. Thank you 32.
Just a little opening talk with the Secretary and then I come
on, where were you standing? Father, it does that matter a

(11:16):
little stand at your desk. Will you, she guides him to a
position above the writing table.
Then I come on impetuously like this suddenly I stopped and I'm
frozen to the spot. What?
On a morning like this besides you weren't no, but I ought to
be. It's the way things happen in

(11:37):
place. I should be frozen to the spot
and then I Melt into your arms Madam.
Yes, but then I ought to have known you before.
Watch How I would do it. I would come in.
So I would freeze to the spot. So and then I would exclaim with
a genuine are of astonishment. So it is you of course, it's me

(11:59):
I mean I but you ought to be something out of my past.
You should be the man who robbedme of my fortune or something
like that. You should have promised to
marry me and deserted me for an Paris.
I suppose you never did jilt me.Did you certainly not Daphne?
Makes a note. No, I'm afraid I've never seen
you before. In my life you have not Daphne

(12:22):
makes a note and I'm busy wistfully.
Don't say that again, I'm not really joking or rather.
I'm joking to make the interviewPleasant for you.
If I were tragic. You wouldn't like me and yet.
It is true. That I am.
My little girls are very nearly at the end of her bread money.
I don't curl your nice mouth. I like you severe better than

(12:44):
sympathetic and you know you agreed to help me with the play.
If you're telling me the truth about your financial position.
Don't bother any more about the play.
Let me give you an introduction to still taking notes.
You want to move about more on the stage.
The characters have to keep making crosses, they don't sit
still, all through an interview,do you mind walking away

(13:06):
somewhere and coming back stamping petulance, Lee up the
window. This is really, very ridiculous.
Thank you so much. Petulant least, amping up,
right? She makes a note.
What are you writing down there?Everything you say or do.
Are you a newspaperwoman or private detective, or a easily

(13:29):
writing Splendid? Splendid, that was almost
dramatic. Why are you writing this down?
Because this is the fourth act. Everything we say, makes up the
dialogue. Mrs. Lower, I ask you again to
go, he picks up her hat and hurts finger on pin damn.
Quite right. You must you must ask me again

(13:50):
and again or the fourth act won't be long enough.
Don't get really angry, don't you see that?
Like the nice kind man you are, you are giving me everything I
want. Thank goodness for that.
My play is about a girl who wrote a play about me.
The first 3x, tell the story of how I came to write that play.
And what happened when I took tothe Has every word of it is

(14:11):
true. Then what's the trouble?
Because the managers won't produce it.
How can they without a happy ending?
Can't you make a happy ending? No, but you can.
I see my say that? I will finance the play.
You write that down and bring down the curtain on it, how
quick you are. And the corollary is that I

(14:33):
throw away, some thousands of pounds and the cor are Writing.
Please spell corollary forgetting himself cor.
Hang it. Spell it yourself.
That's right. Be Brusque and rough.
Bully me and then melt come up to me and smack the open palm of

(14:57):
your left hand with your clenched, right?
And say there's a crash from off, right?
Whatever was that one of my boysfall into a cucumber frame?
He goes to window. And Daphne after putting down
her notebook, on top of steps follows him looking out at the
boys. Aren't they?
Just lovely pleased like their father, don't you think?

(15:21):
How old are they? Well Phillips eight.
Yes, eight. And two months.
Alan's a few days short of seven, eight and seven.
Why I should have said at least twelve and ten pleased.
Would you rather how lucky you are to have boys?
My little girls? Dears, but it's not quite the
same thing as it. Well, there's a difference

(15:45):
softly when when did their mother died.
Sir. Philip when Ian was born, she
stands watching out the window. Philip comes down to desk stand,
back to them. Dear, she pulls open window,
you'll get hit on the knuckles, every time.
If you play forward to that, sort of ball, stand back and

(16:06):
lift your bat. Hi, that's better right now.
Ha ha. There's a burst of boyish
laughter, Philip gazes at her in.
Amazement. What do you know about Cricket
as much as most men? She shuts window.
I'd love to go down and play with them.
May I you want to go down there.But what about the fourth act?

(16:28):
Yes, but I was beginning to despair.
If you're helping me look here, I'll I'll do what I can
genuinely, surprised and grateful you will.
How Splendid of you not at all yours.
Irresistible. As my secretary said, you were
he's a bit of an ass, but he wasright this time, sit down, shall

(16:51):
I wear? Yeah, on the sofa.
She sets and he sits beside her but there's just room for two.
Tell me about the play. Is there any love interest in
it? Yes.
But not for the principal character and the principal
character is you hmm. Designing Widow, aren't you?

(17:13):
Well yes but in the nicest possible sense.
Oh yes of course do you think that the players are dogs chance
without some love interest for the heroin?
It would be better. I admit but you see every line
of the play is true and I can't.Vent.
A lover for myself. Supposing, I were to invent one
for you. Yes.

(17:35):
I admit I'm getting interested. You seem a clinking.
Good sword. Can you bowl?
Yes, quite a decent leg break. Almost fervently, the decent leg
break. Yes, I'm sure of it.
Well, would be quite easy to make love to you for the
purposes of your play. I'd hate you to put yourself

(17:56):
out, not at all. I'm really disengaged till
12:00. You want the notebook?
Yes. Rises.
But still, if you don't feel like it, it won't be much use to
me. How can be desperately in
Earnest for the time being? You aren't the only pretty Widow
in the world. Kicking notebook from desk.

(18:18):
No, I do say you're in practice.Begin sit here.
He indicates couch, meekly. I will rising and clearing his
throat. Mmm, now, we'll begin.
Do you Do. Don't look at me.
No, you should realize, what is coming?
And look away. Make patterns on the carpet with

(18:41):
your toe slightly, raising her skirt and scraping the floor at
the tip of a pretty shoe like that.
Yes, he comes closer just like that.
You're writing something on the carpet.
What is it? Yours truly, Daphne.
Aloha. You're the most adorable woman.

(19:01):
I've seen in my life writing in her book.
You're the most adorable woman I've seen in my life.
Do you really think so Phillip? Yes, dear making note, yes.
Dear that's good dear. Don't you think?
If you're still at home with your eyes, some widows eyes,

(19:23):
make you feel. As if you're out for the night,
some widows eyes, make you feel.As if you're out for the night
writing, it's a risky line. Do you think I ought to put it
in? Oh, yes.
This sensor will cut it out and then you wear your clothes, so
cozily And make us sort of Chrysalis of them making a note.

(19:45):
You dear. No necessity to write your
dialogue. I shall remember every word of
it. You're so cousinly and all that,
whatever that may be making a note here, the sort of girl who
comes on Sunday afternoon and stays forever.
Hmm a sort of spare room, girl sort of mistletoe girl the sort

(20:07):
of taxicab girl a sort of sit out the next.
Hot girl, next foxtrot. Girl Philip you've got me set.
Now, you ought to propose already, unless you think it
would come as a shock to me verywell.
One minute, what is it? I must turn away and make
patterns with my toe. She lifts her skirt and writes

(20:29):
on the carpet again. Would you write this time?
Yours, Truly, Daphne, accorsi. Miss aloha.
Daphne Daphne Wright's. I'm sick of not being engaged,
aren't you? Oh dear.
This is realism. What would you have me?
Say well I thought you'd begin like this Intoxicated by your

(20:52):
maddening Beauty and thrilled bythe evidences of your Sublime.
Intellect, I hate intellect, I offer you my heart, my name and
my fortune as for your play, I will arrange for it.
Simultaneous production in five capitals and and You stop to
lunch. That's your idea of a happy
ending. Yes.
And after all I'm the author, well, put it that way.

(21:15):
If you like what is your answer?My answer is yes.
Now you kiss me. He hesitates a little only a
stage kiss, what source that youall but do it but you don't
Philip puts me on sofa and leansover her house.
This he bends over and kisses her.

(21:36):
Thank you. She writes, he kisses her and
now again he kisses her. Thank you.
She writes. He kisses her again.
It doesn't seem right somehow, doesn't it seemed all right?
To me, no stage directions. Always say he snatches her to

(21:57):
him. Can you snatch know but I can
try. Well, I'll show you how it's
done and then you can snatch me.She throws her arms around.
Him and kisses him like that. I don't think much of that you
bumped my nose. I can snatch better than that,
how's this? He makes a grab at her and

(22:18):
presses her to him. You are very quick to learn.
Oh, it's just a not just a knack.
I hope that's all it is swinginghimself about.
I like this act. I knew you would.
Let's go on with it, but a kiss isn't ending.
Singing Nonsense. It's a beginning.

(22:40):
I think you might say something more.
I whisper it. He whispers in her ear, I must
write that down but it can come after the curtains fall in if
you like. But when the curtain Falls, that
is the end of the play. Yes indeed.
And now that the ACT is finished, she draws a line in

(23:01):
her notebook. We must not pretend anymore.
Oh Lord. Yes, I was pretending.
Wasn't I? Well, I'm quite willing to be
serious after the curtain has fallen to be serious.
I mean, to be sincere, he placeshis hand on Daphne's Philip.

(23:22):
She catches her breath as his meaning Dawns upon her.
Let's pretend the curtains down now.
Better than that. We'll have it down.
He comes to prompt corner. Do you mind letting down the
curtain? Please.
Certainly sir. Phillip takes Daphne's left hand
in his right and they wait whilethe curtain Falls.
When the curtain Rises, they areseen in close Embrace.

(23:45):
When they realize the curtain isup.
They break the Embrace and pretend to be concerned about
other things. End of the fourth act by Basile
McDonald Hastings. Household Gods a comedy by
Aleister Crowley. This is a LibriVox recording all

(24:08):
LibriVox. Recordings are in the public
domain for more information or to volunteer, please visit
librivox.org. Characters, Crassus, a barbarian
from Britain read by Thomas Peter.
Adela his wife a noble, Roman lady read by Michelle.

(24:32):
Eaten Alicia, a servant in the house, read by Sonia.
A statue of pan read by James Curran.
A fine read by Eva Davis narration read by Chuck
Williamson. The scene is at the hearth of

(24:55):
Crassus where is a little bronzealtar dedicated to the Larry's
and pinnate, he's a pale flame rises from the burning
Sandalwood on which Crassus throws bin Zu in and musk.
He is standing in deep dejection.
Smoke without fire. No thrill of tongues is except

(25:18):
the offerings in the cup deadfalls desire.
Black smoke that wall too old toFlame the dust dismember, Devour
the half to leave. No umber to warm this heart.
I see I still a Deadeye dancing here.

(25:38):
Till dim gods did appear to work.
How will the delicate girl diaphanous gossamer subtly
revealing her brave breast of pearl?
She's Rona Dusk to the WildwoodsMystic.
Beatitude sadder to dawn. Let life exclaim against these

(26:03):
things of spirit mankind that disinherit him loves pure Flame.
He bends before the Altar and begins to weep.
You how cold costs while he's been out here?
Swear that you shall Grant this prayer, all things at Arms,

(26:24):
shall be put straight harmonizedreconciled by some appointed
child of some Far fate. A curtain has been drawn aside
during this invocation and Alicia advances.
She smiles, subtly upon him and giving a strange gesture makes

(26:44):
one or two noiseless steps of dancing.
Master still said these faint and fearful Shores of Time up.
Beaten by The Surge of sense. Love worn Away by love to win
difference. Who knows what gods or teen she
adores, all in. What would she shouted?

(27:08):
I Won't Grow. She is a profane, our sacrament
of love. I saw her follow this stream in
the hollow where never Apollo abides.
So thick are the trees that never debris stir stem or sees
what Satya inhabits The Glenn? What?
Nymph in the pool of it hides lighter of foot, then his cell

(27:32):
for a fairy sinuous weary, I passed from the area Lawns,
where the flute of the Winds made tremulous music for men.
I followed the Ripple of the stream, I crept where the water
swept, the floss in the force gurgling across the bosses of
moss like a dry. Its nipple in the mouth of pan,

(27:57):
a pearl of the house. You came to the end.
The task of the slave, the dawn of a friend, freedom is dying
for the skill and the will this kill is mine, but the will life
still still as the Earth that they're not stir, till the kiss

(28:19):
of the sun, awaken her yet that these secrets and riddles behold
hat and fill thy lap with a harvest of gold.
Yet all the gold you could give to me, would fall at my feet
when I Rose to be free, what will you do then?

(28:41):
No gift from Men of my own free?Will I give you wit?
Oh man. So sorely in need of it and
happiness and the flame that hasdwindled on this style Hearth
shall be rekindled. But this, you must swear to Will

(29:01):
and to dare to seek the spirit and slay the sense and for this
hour to give me power to lead you in silent obedience though.
I Bei you fall on your sword enough.
I give my life as I gave my love.

(29:22):
Oh love you have not understood you have not guessed it.
Secret food you have not seen itsinger, I But fear and doubt and
jealousy have risen. And now, your love is trembling
like a mountebank disassembling.When his tricks detected come to

(29:44):
find home, we must leave home. Starless, and movies hidden
Cloud. The knights One Flame of pearl.
Tibet flaps the owl, Hoots allowed lead on.
I Just you girl you are both to trust me or have you divined.

(30:09):
My secret. No, the question of your mind
shows, only faint, disturbing images things Passing Strange,
as if Enchanted sees kept their grapes.
Well, upon it and strange, fish played in Italy, deaths some
monstrous wish the shadow of some unspeakable desire.

(30:31):
Strikes, my heart code and sets My Brain on Fire.
Learn this as we pass through the Portico fear.
Nothing, there is nothing. You can know and by these
Terraces and steps that gleam wintry.
Although the summer night is hot, this what we seek is never

(30:54):
what we find. Life is a dream like love and
from the dream. If we may wake, we never find
it. What we would for the wisdom of
a mighty, our mind leads us in its own ways to a perfected
praise. Why are these Shadows thrown

(31:15):
across the lawn from the ohms? And you will see, they were not
one to reach beyond the branchesof that.
Copper Beech. Attended, dawn of an unknown
Comet that shall come from the unfathomable Wells of space
into. It's Hallie.
No, it's not last night I walkedalone here and saw nothing.

(31:38):
I was not with you. There is no God upon the Eternal
Throne of stars, be jamming the bewildering blue.
Unless one has the eyes to see him think how we to stand upon
the brink of nothing. He is a globe where to we, trust
no larger than the smallest Speck.

(32:01):
Of dust or mode in the Sunbeam is to dead son self.
And we are like dead leaves in autumns will of wind upon it.
Mr. Find me a girl, it is the right of an elf.
Shirley are flickering. Fire will draw me to some Maya

(32:22):
here to stream. Dips its mouth into the wood.
So does youth, calm, and chased beatitude touched a black Also
feel of the ancient whore. Girl, what a scorpion leaving
for your lips? My mouth stings as no scorpion

(32:42):
ever staying in this round. Impudent smiling face of mine,
there is a poison fiercer than alwine and from these eyes more
subtle Sorrows poor then you candream these teeth.
Have been at grips with God's I have sung.
What? No girl.

(33:03):
Ever sang this ears have heard an insufferable word.
What do you mean the secrets in a kiss?
Here are no kisses here. Great, our team is rules only in
the Woodland, met a man hide hiseyes from her pledge, himself to

(33:25):
pan, come through, the Tangled, arches of cypresses and lodges.
Stoop and the Artemis, we walkedupright, but this is Pence home
and the House of Night. They enter the wood.
So when I stoop my cheek, come close to yours, give me a kiss.

(33:50):
The poisonous, Apple, you estas,the boy's mouth be where you are
for a fairer than ever in this tangle of trees, your hot breath
wraps you in perfume, there is some Gloom or Doom, a bitter

(34:10):
harsh ingredient in these, my sorceries of animal scent.
Yes there is fear mixed with thefascination.
It is the reverence that Chastity be sure gains from him,
pure overtures Nation, it is thefear of the uninitiated Before,

(34:32):
the Throne of Fate, the hierophant kiss me.
However, did I grant this favor or were lost?
It is your truth to Adela that Since my youth.
Henceforth Alicia shakes with silent laughter, like a little

(34:57):
breast you have I made and breasts.
Would you betray my oath? My will contest's my wishes.
Wait, and you shall surely see part of the secret that and
saucers me see. All these bosses.

(35:17):
It is not as if a Titan smote himself into the Earth.
Earth and was called into her made one with her, the send this
Fierce and hot like a rotting Panthers lat you to imagine with
math, shaking each other like two wrestlers.
What should stir your Melancholy?

(35:39):
But laughter. Look, before us light streams, a
tremulous chorus, it is vague, and vacillating Love young.
Love of Maidens is the sole thereof and in the midst,
behold. Oh man, the image of great pain.

(36:03):
I fear Him Go and lie there at his feet, Liza Pine lie on that
moss-covered route. While I draw forth the flute and
make a marvelous music. She seizes laughing and begins

(36:23):
to play. High-rise beneath the force of
relapse of fingers. Life that touch the delicate,
stop. So delicately Josh, I have drawn
the bird from the bush pain willappear a nun.
Ha ha ha. This music moves you now I'll

(36:50):
play a Hyun that would make Madam Melancholy moon this.
Oh, you tell my soul out, the truth, your fingers play, like,
summer, lightning on the shaft, with his, like, a storm in the
mountains, with a truth. Look, the angry sea when it

(37:10):
blooms. Some God left your mouth is like
some Gods. It burns and blooms with fire
and heard of with unjust perfumes who let me kiss you.
So you stopped my son, she seizes the tune, there is

(37:36):
another song. You do me wrong for you, love
Adela My God girl know, I could love Alicia, you love her.
So, is shocking, why do you mockme?

(37:56):
Dear? Because you will not guess my
secret here, but put your arms about my neck and swear you love
me and with always keep them there.
Then I'm Might dare my sweetheart.
Oh my sweet. Then take my kiss.

(38:24):
Your mouth is like a rose of fire.
But what is this? I cannot bear that.
Hey, it is my heart. This Arrow strikes me through
stir not one muscle for a moment.

(38:45):
Death, you Beast, you kill me with your urgent breath.
Oh, how I love you, he moves violently Fool.
Now all my pain must be gone through again.
It is sure your chest. It Is unstained by crime.

(39:06):
You do the wrong thing? Just at a right time.
Well, I do charge me all the water Springs and love is
hovering over us with his wings.Soup, pennies penis, hush.
You break the sparrow. Oh, you great fools of men.

(39:31):
I know you well but nothing is so detrimental to love as to be
sentimental. I will yet make you wise know
that I have the magic to disguise myself in many ways.
Do you feel this lie? Still 27 were ruined by a kiss.

(39:54):
I am a butterfly such either flitting as to a flower like,
you is fitting. Now, I'm a mole.
Do you think, you know, me now here is the earthworm severed by
the plow. you are a witch, I want to love you give only loves

(40:17):
comedy the way to live, is to find comedy and tragedy in
everything, but if you cannot see through to the bacchanal
spirit, this should suit here isthe blacksmith hammering a flute
Whole of love, kiss me. I will Forge a ring of Bloom of

(40:44):
blood. Kisses upon your neck till it is
like a garden of roses in late spring.
Soft and stung. Softly fairer for Affleck.
Oh, marvelous Nation, vanity. Dullness slobber and quotation.

(41:07):
Why do you love me if you call me?
So, why did I say I love you. I say no.
Why'd you make love? To beguile the, our to Crown my
rose, wreath with a green of flour to do my Master's
spitting. That's to give life to yourself

(41:31):
who only think you live, but listen.
Have you seen the nine waves roll monotonous, upon the show,
rising and falling like a maidenasleep then with a lift and
dilip the ninth wave curls. And breaks upon the beach and

(41:52):
rushes up it swallowing this andI am that ocean.
Now you understand Alicia oh she's this unbearable.
Surely this wave washes. The shore of Hell each follows.
Each remorseless and indifferentas nature is to each creature.

(42:18):
Wonderful wonderful woman throwsher head back and laughs.
No, you think, you know, my secret I have given you drink
and you are wise. But hash to all emotions, save
this, the pulse and swell of ocean for at the last with mouth

(42:42):
and fingers. Right?
All must proclaim the Triumph ofthe Tied, ah, still you mock me
with your crew. Love it is your foolish Epitaph.
This can be no mockery, he even Sway and color and thrust.

(43:04):
These waves are not touch play. You feel the ocean breaking on
the Shoal but passionless and moveless is its Soul.
Ah, Your soul is in hot breath only Esther.
Graven image of death which men call life and ignorantly adore.

(43:28):
Spare me high. I cannot bear you more.
Then I will drown you lock your fingers fast in mind and let our
mouth mix at the last The statueof pan is seen to be alive.
Shrill, shrill, over the hill, the hunter is hot.

(43:49):
This is the kill scream, scream dissolving, the dream of the
life, the knife to the heart of the wife, the fountain Jets its
flood of blood and the most thatare wet.
Is it amethyst flame? A violets, who shall Escape
murdering rape? What I am live in my solemn
sheep shrill. Shrill over the hill.

(44:10):
The hunter is hot. This is the kill.
The heart of the home is a fury of foam.
The storm is awake and the Billows comb.
But though, I d-- their frenzy of Glee, I am also the
passionless soul of the sea. Mine eye is Clint fire and my
cruel lips. Curl mind the desire of the god
in the girl, but fiery are and fleeter and subfloor and sweeter

(44:35):
than the race of the Rhythm. And the march of the meter, is
the shrilling shrilling of the knife in The Killing that.
Ends wouldn't must both Robin the thrust in the death, in the
dust, the silence, the Stillnessof satiate lust, this all
employers when the veil withdraws and the man looks on

(44:58):
his God and the causeless, causestill still under the hill.
The hunter is dead. This is the kill.
Bulk pain. Never speaks to men is dumb and
only then if he be like a child silently curled with in its

(45:18):
mother's womb or feeding at her breast there is a wild way.
Also when his dumbness is of death and as a first and second
death remember to die so that nogods or Angels breath May
Quicken into life. Wasted Amber.

(45:40):
I am dead now. But I must raise you up.
The night grows darker, all pens, light is gone and you and
I are pledged to stop upon a secret.
All your secret shown. Oh, and you know it, but you

(46:07):
must Divine added a shrine, I amweary of add a groom chased and
chill. The hunter legs, how heavy is
the hill, but you are bound to Adela to you.
But you have given me freedom. I will leave you.

(46:28):
What have I done to grieve? You?
You have been the solemn fool with face awry that I have
gathered. In my ecstasy, you are only a
vulgar Primrose that I have plucked.
At least She-Devil you have beenwell treated.
Oh, tragic, Forest. Not even Rhymes completed and

(46:52):
may darling. No Rebellion when, you know, my
secret Hugh. Understand you are bound to
Adela within the Portico to me upon this ground by day in life.
Adore Delano Iris Man by night in death make offering to pain.

(47:16):
Can you cut day from Night by any Endeavor, if so, both life
and death were lost forever. Come to stream steepens this
road relief to Hell. The way to heaven is shorter.
Who can turn? I have measured it.

(47:41):
You go. It is not hard.
What did you make the height of it?
One yard. You always mock me.
Pity of my youth. I swerve not from you.
Stumble at the truth. I like not just this is a

(48:02):
serious Journey. Why did you make a mock off your
attorney? The way to Rome leads to the
apennines. Becker's has horns beneath the
crown of vines, if you feel horns, make some people Excuse
not to invoke him by the names acruise.

(48:24):
Van passing among the trees. He thought me a lamb with a
crown of thorns. I am Royal a Ram with death in
my horns. So mild and soft and feminine.
Yet me a loft and frowned on sinbut I was awake in your clasp.

(48:47):
As I Lay, I Rouse the snake fromits nest of clay and a you knew
I had Sunk my forehead through and through, that's shouldn't
horrid. Through all the pleasure of rose
and Vine. I thrust my treasure.
The cone of the pine ear has made was easily sated for.

(49:09):
She was afraid we nehru mated. You would not laughs where you,
the maid, How could I be great Kev but you are all the same
blaspheme and jeer at any mystery, beyond your sphere of

(49:31):
beer and beef and beer and beef,and beer.
Now, you have frightened the shyGod.
Why she'd between your arms is all the god I need it.
Prudish and course to the last now hash indeed the stream

(49:54):
kisses the lake we near the shrine Sterno snapped twig.
Let your foot even yours fall like a phones.
Your breath is like new wine hush.
Now no porpoise Campbell's. How obscure is the G of the

(50:16):
lake? Is that the Dial.
Yes. In that shadow looks a smile see
from that Jagged Cloud. Diana starts like a deer from
the break. Her silver Splendid ice to the
crisp air to the Grove upon the aisle.

(50:36):
Do you see her? Do you see her monstrous?
Why are these eyes betray me? No, you're Adlai lies with arms
thrown back, head tilted. Open sighs her lips flame out

(50:56):
like puppies in the dusk. The breeze.
Brings back to us a scent of musk.
Her mouth is oozing. Kisses, filthy Harlot.
I never fed on a superb. A scarlet and look The Wonder of
Olmstead phones upon her title breast hello.

(51:19):
But this 1 s 1 s 1 Snow White with his soul Scarlet hidden in
the Abode forbidden. Oh but his eyes wounds as his
broad Peak slips within her luscious lips.
Oh but I cannot see. I long to die a like for Wonder

(51:45):
And for jealousy, vile filthy whore.
I'll catch you at it. Soft.
See how his feathers hold her soul, a loft Beast.
Have you brought me through the wood for this?
No wonder. I must teach you how to kiss.

(52:08):
I'll clip his wings so pennies penis is life.
If it's not the wings of him, that clip your wife, the waters
really a creature. She said fool all your emotions,
very with York, your state of health.

(52:33):
We are for your foul. Well, I swim and stab them.
The black mouth of Hell yawns for the murder.
I'll be at the death dive then but softly scarcely draw your
breath. Oh, she's unwary.

(52:54):
It's Your Love forgotten. I love is rotten but your pure
love for me. You boasted off.
Hi! That was perfect love.
You love me. Then not her indeed.
I do swear meteos. Who knew?

(53:16):
I swear to love you to the worldshall end.
Then Crassus. I will always be your friend.
Ah, that is good. You do not mock me now.
Creep softly to the land kiss but my brow, My Curls are wet.

(53:38):
No, never touch me there. Why am I not?
Oh, you have not just my hand. You disobey your Mistresses
command. The time is near when you shall
see the keyhole of my comedy. Josh, you course, slave will

(54:04):
surprise you a good wife in her Mystic exercise.
Quick through the Bramble. They burst through upon Adela.
Now you we style got your the cost of God and plague of Naples
Rachel for this white brute. Once it he cuts the throat of

(54:28):
the Swan with his dagger Oh, look betrayed on my dad Beauty
for deceitful made not crosses family out.
Had. I The Winds of my dad love?
Oh love. Why wondrous things?
These nail Shall Serve a servant.

(54:50):
She shall be my wife. Damned witch, when I have done
with thee. This one dies.
I'll kill her now but see my Swan is dead.
Yes. And what light is breaking
overhead? What blaze of blue and gold and
develops us? Oh mama.

(55:13):
How miraculous what is it? Why my love is life in me.
Ones concentrated now diffused alooms, the endless reaches of
Eternity with infinite Brilliance with intense
perfumes, how then your lover was some God's this guy's and

(55:35):
you have robbed me. Now, beware your eyes.
She Springs at Elisha who guard yourself easily.
But in the struggle, her robe tears, take care, the boy.
Oh boy. Yeah, well, whatever I said is

(55:58):
the keyword of the comedy. You thought you had two vices at
your need, but she had jove and you had Ganymede dad.
They are struck dumb and still with amazement Alicia claps her
hands four times. Sweep through the are bright.

(56:27):
Blaze of Eagle wings classes soup, pennies penis, how he
swings his bulk from Yonder sightless poised to be a me back
to the Dominion of the air whereI shall bear the cup of Jupiter
blind babes love one another no less true because the gods have

(56:51):
deigned to dwell with you. The eagle Bears.
Ganymede Aloft. Adela, this was truly is too
great for you and me to us today, but without both come
sick to my stomach charms, as wewill want in one another's arms.

(57:16):
What perfect Moss for you to lieupon?
I am your wife, Dear Crassus, Sotto voice.
Oh my swan. Curtain.
End of household Gods by Aleister Crowley.

(57:39):
Masada by William Butler Yeats. This is a LibriVox recording all
LibriVox recordings are in the public domain for more
information or to volunteer, please visit librivox.org.
Masada. And my Lord Cardinal have had
strange days in his youth extract from A Memoir of the

(58:03):
15th century. Dramatis personae.
Masada, read by Sonia. A berm are read by Thomas Peter.
Cola Elaine boy read by Charlotte ducats.
First monk, read by K hand, second monk read by Chuck

(58:26):
Williamson. First Inquisitor read by Anusha,
our second Inquisitor read by Michelle.
Eaten narrated by a bye. Scene 1.
A little Moorish room in the village of a superior in the
center of the room, a chafing dish.

(58:49):
Masada alone. Three times the roses have grown
less and less as slowly. Autumn climbed The Golden
Throne, where said old summer Fading Into song and Thrice to
peaches flushed upon the walls and thighs.
The corner around the seagulls flamed since, among my people

(59:10):
tended on the Hills, he stood a messenger.
In April's Prime swallows were flashing, their white breasts
above or perching on the tents? A we re still from waste teeth.
He's crossed yet ever. Gary.
Harris, along the Velvet Veil. I saw him come in Autumn when
far down the mountain, slopes, too, heavy clusters of the

(59:32):
graves were full. I saw him sigh and turn and pass
away for I and all my people were accursed of his said, God
and down among the grass hiding.My face, I cried long bitterly,
it was evening, and the cricket Nation sang around my head and
danced among the grass and all Astimulus to the dying Leaf, slit

(59:55):
circling down and softly touchedmy lips with do as though, it
was sealing them for death, yet somewhere in the foot.
Sole world, we meet we to beforewe die for a Zola, the star
taught more said, does it was decreed by those ones stars that
sit in company above. The alcohol has on their Thrones

(01:00:18):
that when the stars of our Nativity draws star to star, As
on that Eve, he passed down the long.
Valleys from my peoples tents. We meet we too. she opens the
casement, the mingled sound of the voices, and laughter of the
Apple gatherers floats in How Mary all these are among the

(01:00:40):
fruit. But Ian lame Cola crouches away
from all the others. Now the sun is shining on the
little crucifix of silver hanging around.
Liam Cola snake sinks down at last with Yolanda minaret of the
Alhambra black athwart. His disc and cola seeing nose to
sign and comes thus, do I burn these precious Arabs who smoke

(01:01:03):
pours up and floats in fragranceover my head in coil and coil of
a Enter Cola. All is ready, Masada.
It is so much. The worse.
I will not share your sin. It is no sin that you shall see
on Yonder glowing Cloud picturedwhere wonder the Beloved feet

(01:01:26):
whose footfall I have longed forthree sets Summers why these new
fears. The servant of the Lord, the
dark still man has come and sayshis sin.
They say the wish itself is halfthe sin.
Then has this one been sinful many times yet this no sin.

(01:01:48):
My father taught it me. He was a man most learned and
most mild who dreaming to a wondrous age lived on tending,
the Roses round. His latest or four years.
His days had dawned and Faded usamong the plants.
The flower is silence fell deep.In his soul, like rain upon a
soil worn by the solstice fears and made it pure wood.

(01:02:10):
He teach and he sinned gaze intothe cloud yourself, none, but
the innocent can see. They say I moloch Nina's my in
footed. I am one shoulder turned awry.
Why then should I be good? But you are beautiful.
I cannot see the Beatles and thebats.

(01:02:33):
And spiders are my friends. I'm theirs and they are not good
but you are like a butterfly. I cannot see.
I cannot see. But you shall see a thing to
talk on when you're old and the lemon tree beside your door and
all the elders sitting in the sun will wondering this--and and
this tale Shelly's for long. The burden of Of they're

(01:02:55):
talking. Griefs on my knees.
I pray you let it sleep the vision.
You're pale and weeping, child be not afraid.
You'll see no fearful thing. Thus, thus, I beckon from her
view list Fields that's beckonedto our Aid of fandom, fair in
calm, robed all in Raymond Mooney.

(01:03:16):
Why'd she was a great enchantress.
Once of your, whose dwelling wasa tree rep, Thailand lulled far
out upon the Water World and ringed with wonderful Whites and
when never yet were furloughed, the wings of ships.
They're in a Dell, a lily Blanchett.
Place. She said, insane.
And in her singing was around her head, white lilies, and her

(01:03:38):
song through, for the far along the sea, and many a man, grew
hushed in his own house, or among the merchants gray,
hearing the far-off singing guile and groaned and Mandan
Argosy and sailing died. In the far.
I'll she signed herself Asleep At Last but now I waive her to

(01:03:59):
my side. Stay stay or I will hold your
white arms down on me. I cannot reach them here.
And there darting you wave them darting in the vapor heard you.
You'll lose upon the wall, has sound it.

(01:04:20):
I feel a finger drawn across my cheek defend him scum.
They come they come I waved him hither my breasts.
He is was Joy. Oi.
Now I'm East and heart it once again and while they gather
round my beckoning arms, I'll sing the songs that Dusky love

(01:04:40):
us. Sing wondering in salfi palaces
of IND. A lotus in their hands.
The door is flung open until theofficers of the Inquisition.
Young Moorish girl, taking in magic in the church's name.
I hear a rest of the day. It is a last will touch.

(01:05:01):
Not this boy for he is innocent.Forgive for.
I have told them everything theysaid I'd burn in hell.
Unless I told them all and let them find you in the vapor.
She turns away he clings to her dress.
It was a last will. Now chords.

(01:05:24):
No need to buy in my hands. Where our users for your head
with vapors Brown. The steak, the vapor is much
thicker. God mistake.
You told me, he would frighten her from her sin, no more take
me instead of her great sirs. She is my only friend, I'm lame,

(01:05:50):
you know, one shoulder twisted and the Children, Cry names.
After me lady, I come Cola following forgive Forgive or I
will die. Masada, stooping and kissing
him. Twice Allah's will. seemed to a

(01:06:15):
room, the building of the Inquisition of Granada lit by
stained window picturing Saint James of Spain, monks and
inquisitors, Will you not hear my last new song?
Hush Hush? So she must burn you say, she
must in truth. Will he not spare her life?

(01:06:38):
How would one matter when there are many Deborah, Mar Will stamp
this Heathen horde away. You need not hope.
And no you not. She kissed that Pious child with
poisonous lips. And he is painting since you're
full of wordiness come here, my song.
In truth an evil race. Why strive for her a little

(01:07:01):
Moorish girl, small worth my song.
I had a sister like her once my friend touching the first Monk
on the shoulder. Where is our brother Peter when
your night? He is not far.
I'd have him speak for her. I saw his jovial mood, bring

(01:07:24):
once a smile to st. It every Mars, sad eyes.
I think he loves her brother Peter in his heart if Peter
would, but ask her life, who knows?
He digs his cabbages, he brings to mind that song I've made is
of a Russian tale of, holy Peterof the Earning gate a saint of

(01:07:45):
Russia in a vision saw. Sings a stranger new, Arisen,
wait by the door of Peters gate and he shouted open wide thy
sacred door, but Peter cried Know, Thy home is deepest hell
deeper than the deepest. Well, then the stranger softly
crew cock a doodle. Doodle.

(01:08:06):
Do answered Peter enter in friend but twere.
A deadly sin, ever more to speaka word of any unblessed Earthly
bird. Be still, I hear the step of
ebony, maw Yonder. He comes, bright-eyed and
hollow-cheeked from fasting. See the red light slanting down

(01:08:28):
from the great painted window, wraps his brow as with an
aureole Abram are interest. They all bowed to him.
My suit to you. I will not hear the Moorish girl
must die. I will burn heresy from this
matter then and mercy is the manner of the world.

(01:08:51):
The wages of sin is death, no use My Lord, if it must be, I
pray. Distend yourself into the
dungeon neetha feet and importune with weighty words,
this more that she forced away, her heresies and save her soul
from C's of endless flame in hell.

(01:09:14):
I speak alone with Servants of the Cross and dying men and yet
but no, farewell no youth. Away they go here.
O thou enduring God who give us to the golden crested Wren her
hanging Mansion give to me? I pray, the burden of thy truth

(01:09:36):
reached on my hands and fill me with thy rage that I met Bruce.
The Heathen and shake, the southern Kings upon their
Thrones. The lives of men shall flow, as
quiet as a little rivulets beneath the Sheltering shadow of
thy church and thou shalt been Enjoying God, the knees, the
great warriors, whose names of sung, the world to its Fierce

(01:10:00):
infancy again. Scene, 3, the dungeon of the
Inquisition, the morning of the auto-da-fé, Don's dimly through
a part window. A few faint stars are shining
swallows are circling in the dimness without.

(01:10:20):
Oh swallows swallows swallows. Will you fly this Eve tomorrow
or tomorrow night Above The Farmhouse by the little Lake
that's rustling? In the Reeds with patient pushes
soft as a long-dead. Footstep whispering through the
brain, my brothers will be passing down quite soon.
The cornfield where the puppies grow to their Farm Work, House

(01:10:44):
island, or will be. But no, in this warm weather
among the hills will be the I ain't far thunder sound as
though the world were dreaming and it's some asleep that will
be later. They scarcely, Dawning and
Hassan will be with them. He was so small a week theme
child when last I saw him, therehe will be taller.

(01:11:06):
Now, it was long ago, the men are busy in the glimmering
Square. I hear the murmur as they raise
the beams, to build the circlingseats.
Where high in air soon? Will the Churchman not above the
crowd? I I'm not of that pale company
whose feet are long, shall fall through the noisy square and not
come dance for here in this small ring harken.

(01:11:30):
You swallows. I have hold it up, a poison
drop. The toy of fancy ones, a fashion
with a smallish Maids be got of dreaming and of watching by the
door, the Shadows pass. But now I love my ring for it.
Alone of all the world will do my bidding.
Sucks poison from The Ring. Now this done and I am glad and

(01:11:54):
free will see the way with sleepy mood, my thoughts, and
your on the brightening patch ofsky with three bars crossed and
these four walls my world and your nephew Stars grown dim like
eyes of lovers, the noisy World divides how sooner did so small
makes one grow weekend. Tottering, where shall I lay me

(01:12:15):
down? That question is a weighty
question for it. Is the last not For their spider
weaves a web me here, I lay me down where I can watch the
burgers of the night fade, one by one.
He under a leaf of Apple Blossomcircles in the Gloom floating
from Ian barred window. Newcomer, that welcome why

(01:12:39):
they're closed against my fingers.
I wonder, which is. Whitest day or thou?
Didst, thou for they've grown blue around the nails, my
Blossom. I am dying and the stars are
Dying to they were full Seven Stars to only now.
They are two side by side o Allah.
It was just a shot on that nightwhen my lost Lover Left.

(01:13:02):
These Arms, my valence we meet at last, the ministering stars
of our Nativity hang side-by-side and throb with in
the circles of green Dawn too late, too late for.
I am near to death. I try to lift my arms they fall
again. This death Is heavy in my veins

(01:13:22):
like sleep. I cannot even crawl along the
flags a little nearer, those Bright Stars.
Tell me, is it your message stars that when death comes my
soul shall touch with his and the two Flames.
Be one, I think all is finished now and sealed.
After a pause and to Abram are. Can Moorish girls?

(01:13:46):
I Final hours here, cast-off, die, heresies, and say, thy
soul, from dateless pain. She sleeps starting Asada.
Oh God awake thou shall not die.She sleeps her had cast backward

(01:14:07):
and her unloosed hair. Look up.
Look up violence is Spidey. A fearful paleness groups across
her breast and outspread arms. Casting himself down by her.
Peanuts. So pale deal of oh can I kiss
this bring a flush no more upon.Thy face.

(01:14:28):
How heavily thy head hangs on mybreasts.
Listen, we shall be safe. We'll fly from this before the
Morning Star. Dear Heart, there is a secret
way that leads its pavin length towards the rivers.
March, where lies the shall openthe yellow reads, Awake awake

(01:14:49):
and we will say laughs are a faralong the fleet wide, Rivers
face alone with her own WhispersAnd replies alone among the
murmurs of the Dawn. Among the nation's, None Shall
know that I was ever Amar, whosethoughts were fixed.
On God, and Heaven, and holiness.
Let's talk and grieve for. That's the sweetest music for

(01:15:13):
sad souls. They said all flame bewildered
and the hills in listening silence gazing on our grief.
I never knew an eve, so marvelous still.
Her dreams are talking with old ears awake, grieve.
Not for Valance kneels beside thee Valance.

(01:15:35):
This late. Wait, one more day.
Below the hills to foot one. Way is long and it grows dark.
It is the darkest Eve. I ever knew I needed by the no
parting. Now look up.
She smiles is happy with her wandering.
Griefs So you must go kiss me before you go.

(01:15:59):
Oh what the busy minutes might fold up the thieving wings that
we might never part. I never knew a night.
So honey is sweet. There is no leave-taking.
I go no more safe. On the rest of Valance is that
head and happy one. Go not go.
Not go. Not for Night.

(01:16:20):
Comes fast. Look down on me.
My love and see how thick the Dual eyes on my I never knew a
night so do be drowned. Oh hush the wondering Music of
My Mind look honey once I think your eyelids.
So why do you hang so heavy in my arms love?

(01:16:42):
Will you die when we have met one?
Look give to thy violence violence.
He has gone from here along the shadowy way that wines
companioning. The rivers Pilgrim torch.
I'll See him longer. If I stand out here upon the
mountains, brow, she tries to stand and tatars, every Mars

(01:17:04):
supports her, and she stands pointing down as if into a
Visionary Valley, he under, he Treads the path over muffled
with the leaves, Dead Leaves like happy thoughts.
Grown said in evil days, he Fades Among The Mists how fast
they come and pour upon the world.

(01:17:24):
Well a day. Poor love and sorrow with their
arms thrown around each other's necks and Whispering.
As they go still wander through the world, he's gone.
He's gone. I'm weary weary and this very
cold. I'll draw my cloak around me.
It is cold. I never knew a night.

(01:17:48):
So bitter cold. Dies Masada.
Almost Sada. And two monks and inquisitors.
My Lord. You called not, I This made is
dead from Poison for you. Cannot trust these Moors your

(01:18:12):
pale, my Lord. From his Inquisitor aside, his
lips are quivering the flame that Sean, with, in his eyes,
but now has flickered and gone out.
I am not. Well, it will pass.
I'll see the other prisoners nowand in buqun, their souls to

(01:18:32):
penitence. So they escaped from hell.
But pardon me, your hood is threadbare, see that it be
changed before. We take our seats above the
crowd. I always said, you could not
trust these Moors. They go.
End of Masada by William Butler Yeats.

(01:19:00):
The proving of Abraham. By Rita Benton, this is a
LibriVox recording all LibriVox recordings are in the public
librivox.org. The proving of Abraham.
The people. Prologue and epilogue read by

(01:19:23):
Michelle. Eaten Abraham read but Larry
Wilson. Isaac his son read by Beth
Thomas. The messenger or angel of God
read by David Purdy. One or two servants.
The place scene 1 is outside thetent of Abraham. seem to is

(01:19:48):
Mount more, I The prologue takesthe place of scenery or program.
The properties. A chair or bench.
A bundle of wood. A knife.
The proving of Abraham. The prologue or the servant of

(01:20:09):
Abraham acting as prologue. Enter MBA is low, then drawing
himself erect points to imaginary scenery.
This is the tent of Abraham, thefather of his people where he
lives with Sarai his wife, and his son, Isaac.
Whom he loves Above All Else. I am the servant of Abraham.

(01:20:35):
Low Abraham enters. Now, with Isaac, the prologue
goes, Abraham enters leaning on Isaac, Isaac pointing, my father
behold the Lambs Yonder, my son.They are for the sacrifice.
I offer them up to God for a thank offering that he hath

(01:20:56):
given thee to me. O my son seats himself Isaac
clinging close to him. Does that love me more than the
little lambs Abraham embracing him?
I love the more than all that. That is in heaven or Earth.
Isaac struggling. My father, let me go, I would go
play with the Lambs. Abraham.

(01:21:19):
Releasing him then, go my son, Isaac Runs Out, Abraham remain
seated. Then suddenly he starts Rises
and stands with his arms uplifted.
In prayer here. Am I Lord?
He listens with strong emotion. Oh, lord, lord.
What is this? That thou Dost require of me.

(01:21:40):
Must I give up Isaac to thee. Isaac, the joy of mine old age.
There's a pause while he prays silently.
Then he speaks humbly. Nevertheless.
Not my will. Oh Lord.
But thine be done. There's another pause, then.

(01:22:00):
He calls. Isaac Isaac.
Isaac runs in here. Are my father, you would for a
burnt offering and saddle. You either ass for?
I will go up upon the mount to sacrifice our father and shall I
go with thee. Thou shalt indeed.
Go with me thou and thy servant.Get the gun.

(01:22:24):
Isaac Runs Out. Not my will.
Oh Lord but thine. O Lord, I will trust in thee.
Isaac enters carrying a bundle of faggots.
My father all is ready, the are settled and I have here wood for
the burnt offering Abraham. Please think his arms around

(01:22:45):
him, come my son, they go slowlyout the prologue or servant
enters behold now Abraham and Isaac approach, the mountains of
Moriah. I the servant follow after he
follows them. Abraham and Isaac having made
the Circuit of the room approach.

(01:23:06):
This is the mountain of which I shall sacrifice to Servant by
thou Yonder with the ass. I and the lad will worship then
I will come again to thee the servant boughs and withdraws my
father. Yeah, my my son, my father,
behold the fire and the wood. But where is the Lamb for the

(01:23:27):
burnt offering almost Sun God? We'll provide the sacrifice.
Oh my son. Before the word.
Warren, I longed for the and since there was the little lad I
have loved thee with a greater love than I have.
Given my God now I am punished for the Lord hath.

(01:23:48):
Commanded me saying, take thou thy son.
Thine only son, whom thou lovest, even Isaac and offer him
up for a burnt offering upon themountains.
Oh my son. I shall do even as the Lord had
commanded me for all. His ways are perfect.

(01:24:10):
Fare Thee, Well, he Embraces him, Isaac fearfully, father.
Father, I, I fear the oboe upon the word Isaac Neil's, Abraham
raises, his knife to slay, a voice calls from distance,
Abraham Abraham. Oh my father, a voice called

(01:24:34):
Abraham, Abraham with knife. Still raised here.
My Lord. The messenger enters and stays
Abraham's hand o Abraham, thus saith the Lord because thou Hast
put thy trust in me. Therefore, I will deliver thee,
lay not thine hand upon the lad for now.
I know that thou fearest God seeing thou Hast, not withheld,

(01:24:58):
thy son, thine only son, from me, Abraham reusing arms to
Heaven. Oh Lord, blessed.
Be the man that trusteth in thee, Isaac.
Jumping. Laura father of RAM is they're
caught in the thicket. Well, I shall fetch the RAM for
sacrifice. He runs out.
Moreover. Thus saith the Lord.

(01:25:19):
God in blessing. I Will Bless thee and in thy
seed, shall all the nations of the earth, be blessed for I have
proved Thee, the mr. Goes out.
Isaac runs in with great excitement.
My father, the ram is caught. I will carry the wood Yonder
Runs Out. O God thou has tried me and

(01:25:41):
known me. Oh see if there be any wicked
way in me and Lead Me in the wayEverlasting goes with arms
upraised, the servant our epilogue advances, Mark the
perfect man. And behold the upright for the
end of that man is peace. Epilogue.

(01:26:02):
He goes out. End of the proving of Abraham.
The People by Susan glaspell, this is a LibriVox recording all
LibriVox. Recordings are in the public

(01:26:25):
librivox.org. The people.
Dramatis personae Edward Wills, editor of the people read.
By Todd Oscar trip associate editor, read by Jacque.
Williamson the artist rate by Ava, Sarah read by Sonia.

(01:26:54):
Tom how printer read by recording person.
The boy from Georgia read by Philip Gould, the man from the
cape read by David Olson, the woman from Idaho right by Michel
eaten the earnest approach read by Larry Wilson.

(01:27:17):
The light touch red, boy, Sarah Hale.
The anarchist read by Thomas Peter, the philosopher Ridge by
Alan mapstone. The people.
Teen the office of the people, adesk, a table on which are

(01:27:38):
manuscripts in magazines. On the walls are revolutionary
posters. Wads of paper are thrown about
on the floor, the office of a publication, which is radical
and poor. The curtain shows Oscar at one
end of a table writing. There is a door rear door left

(01:28:00):
enter rear Tom, how a galley proof in his hand.
Why are you writing Oscar jauntily?
Because I am a writer but I thought you said there wasn't
going to be another issue of thepeople.
I am writing as a woman here forsuitcase.

(01:28:21):
What's in it? She wants to see the editor.
Ask her after waiting a minute. Alright.
Exit, Tom. Injured woman with suitcase.
She is middle-aged. Whereas plainclothes not in
fashion. Her manner is a little shrinking

(01:28:42):
and yet as she stands in the doorway, looking about the bare
room, her face is the face of one who has come a long way and
reached a wonderful place. This is the office of the
people. Hmm.
The woman in a baited way. I came to see the author of
those wonderful words. Oscar Rising, which wonderful

(01:29:09):
words. About moving toward the
beautiful distances. Those are mr.
Wills has wonderful words. Begins to write as 1 quiz, lost
interest. Could I see him?
He isn't here yet. He's just back from.

(01:29:30):
California, won't be at the office till a little later, the
woman in a manner of repressed, excitement.
He's been to California. It's just written across this
country. Yes, long trip.
It was very cross over the phone.
Oh no, I think you're mistaken anything.

(01:29:53):
You care to see me about the woman after considering I could
seem a little later. Couldn't I?
Yes, if it's important, of course, he'll be very busy.
It is important, at least. Yes, it is important.
Very well. Then, later in the morning, the

(01:30:17):
woman thinking aloud, I will notstand down on the street and
watch the people go by what the people is.
So, Wonderful to see them so many of them.
Do you often just stand and watch them?
No, Madam not often. I am too busy editing a magazine
about them. Of course you are busy.

(01:30:39):
You helped edit. The magazine looks about at the
posters. I am associate editor of the
people. That's a great thing for you and
you so young, just mr. Wills?
Right in this room that is as desk, the woman looking at the
desk, it must be a wonderful thing for you to write in the

(01:31:00):
same room with him. Well, I don't know.
Perhaps it is a wonderful thing for him to.
I am Oscar trip the poet. It would be beautiful to be a
poet. I will come back later.
Picks up suitcase, just leave that if you weren't going to be

(01:31:22):
using it in the meantime, Norman, putting it down near the
door. Oh, thank you.
I see that. You are a kind young man, that
is not the general opinion. I wonder why it is that the
general opinion is often so wrong.
Dan's considering it for a moment then goes out.

(01:31:44):
I don't quite understand that woman.
Enter Tom. How printer is this paper?
Can't go on. I want to know it.
I could get a job in the eveningWorld.
Oscar of continues writing. Can it go on?
I don't see how it can but many a time I haven't seen how it
could and it did. Doubtless, it will go on and see

(01:32:07):
days so much worse than these. That we will say, the good old
days of 1917, but can it pay salaries?
Oh no, I think not. But we must work because we love
our work. We must eat because we love our
food meal know. Soon there's to be a meeting

(01:32:29):
here this morning. in tercera, Tom goes out, Sarah is dressed
like a young business woman and had the simple direct manner of
a woman who is ready to work fora thing, she believes in Ed not
yet? No.
Did he get any money? Doesn't look like it.

(01:32:50):
He was snappish over the phone because he's forgiving it up
this time. I don't want to give it up.
She sits at the table and unfolda manuscript.
She has brought with her. Well, it's not what we want.
It's what the people want and there aren't enough of them who
want us. Default must lie with us.

(01:33:14):
I don't think so. The fault lies with the failure
to the artist has entered. I'll tell you where, the fault
lies we should give more space to pictures, and less to stupid
reading matter. Takes a seat at the table.
We have given too much expensive, white paper to
pictures and too little to reading matter especially to

(01:33:39):
poetry. That's where the fault lies.
Enter Edward Wills editor. I'll tell you where the fault
lies wins first to the artist then to Oscar here, just this
everybody plugging for his own thing.

(01:33:59):
Nobody caring enough about the thing as a whole Oscar Rising.
I'll tell you where the fault lies points to Aid here.
This the editor-in-chief returnsfrom a long trip and the first
golden words that fall from his lips for the words of censure
for his faithful subordinates. How are you Ed rotten?

(01:34:24):
I hate sleeping cars. I always catch cold.
Any luck Ed, his hand around hisear.
What's the word? Enter the earnest approach.
I have heard that you may have to discontinue.
And sitting down at his desk, beginning to look through his

(01:34:46):
mail. It seems, we might as well.
No, just let me tell you what the trouble has been, and how
you can remedy it. The people has been afraid of
being serious, but you deal withideas and you must do it.
Soberly there is a place for a good Earnest Journal of protest.

(01:35:09):
But all this levity, this fooling enter light touch Came
in to see you add to say. I hope the news I'm hearing
isn't true, if it's bad. It's true.
Well, it's an Opel pity but you have been too damn serious.

(01:35:29):
I like to touch. That's what the people need.
You are as heavy as much try to while longer along frivolous
lines, I wasn't the building andjust ran into.
Let you have my idea of what's the matter with you?
If we had as many subscribers aswe have people, to tell us
what's the matter with us. Enter philosopher and Anarchist

(01:35:53):
printer follows them in a page of manuscript in his hand.
Now the philosopher and the anarchist will tell us what's
the matter with us to Dem Bourgeois you should print on
the cover of every issue to hellwith the bourgeoisie.
Pigs. The trouble with this paper is

(01:36:14):
efficiency They start to rise intheir chairs, the printer falls,
back against the wall, then staggers out of the room.
Dear God, there are things. That seems to me, I cannot bear.
It should be more carelessly done and then it would be more

(01:36:34):
perfectly done. You should be less definite and
you would have more definiteness.
You should not know what it is you want and then you would find
what you are after. You talk as if we had not been a

(01:36:55):
success but just last night I heard of a woman in Bronxville
who keeps the people under her bed so her husband won't know.
She's reading it. If you had been a success you
would have fired. That woman was so great, a
courage that she would proudly prop.
The people on the pillow artist who is sketching the anarchist.
It was my pictures, got as underthe bed.

(01:37:18):
I was definitely told it was my last talk with God, put us under
the bed. Can you not see that?
She puts you under the bed because you yourselves have made
concessions to the bourgeoisie cows, geese artist, who has been
sketching the anarchist, it should print more pictures, it

(01:37:40):
must print, more poetry the glare at one another It should
be more serious. It should be a more frivolous.
Enter the boy from Georgia dressed, like a freshman with a
good allowance. Use this, the office of the
people know, there's a lunatic asylum, the boy after a

(01:38:02):
bewildered moment. Oh you're joking, you know, I
wondered about that whether you would joke here, I thought you
would stepping forward. I came to see the editor I want
to tell him. So many people are telling me so

(01:38:23):
many things. Could you tell me yours a little
later? Oh, yes, of course, there must
be many important things people have to tell you.
Well, many boy goes out rear reluctantly artist, who has all
the time been glaring at Oscar. Speaking for the artists, I want

(01:38:47):
to say right now making for the Riders.
I wish to say, before we go further more serious approach, a
lighter touch. Speaking for the anarchists,
freaking For the truth. Phone rings.
Oscar enters enter the man from the cape slow heavy.
You have come to tell us something about this paper.

(01:39:09):
Yes, there are a number ahead ofyou.
Will you wait your turn? A look of disappointment.
I'll be glad to see you as soon as I can.
They're in the outside office motioning door rear A moment,
the man stands there, a mute ponderous figure then very

(01:39:29):
slowly goes out. Oscar hanging up.
The receiver. Well it's Paper Company.
Bill got to be paid today and here pigs from his drawer, a
huge packet of bills. You could pay your bills.
If you were not afraid to be serious, you could pay your
bills. If you were not afraid to be

(01:39:49):
gained from the door, very solemnly.
More Earnest approach would savethe people.
I lighter touch with turned the trick exeunt.
Anarchist going over and pounding on editor's desk to
hell. With the bourgeoisie Apes

(01:40:12):
efficiency has put out the sparkwell as long as the spark
appears to be good and out, May I in the name of efficiency, ask
you who do not belong here to retire, that we may go ahead
with our work, there would be greater efficiency in our
remaining. They would be form.

(01:40:36):
You have lacked form. You have lacked courage donkeys,
it would be Illuminating, Leo tohear you run through the animal
kingdom. Toads crocodiles are number of
things you haven't mentioned yet, but the animal kingdom is
large and we have work to do. You lack form in your work by

(01:41:00):
form? I do not mean what you think.
I mean, I mean, that particular significance of the Nificant,
which is the fundamental we wouldn't understand it.
Why? Tell us, no.
Goes to Door. You couldn't understand it.

(01:41:23):
Exit rest in peace, mr. Of benediction.
Then from the door, hissing lie,centipedes exit, all laugh.
What's the matter with us is ourfriends.
Well to be on not to be I guess it's up to you Ed.

(01:41:44):
Just what would we be going on for to make a few more people?
Like the dear ones who have justleft us seems to me.
We could best serve Society by not doing that precisely.
What do we do aside from gettingunder the bed in Bronxville?
Now when then something particularly rockness put over
and we have a story that gets a rise out of a few People, but we

(01:42:07):
don't change anything. We had another hope we were
going to express ourselves. So simply and so truly that we
would be expressing the people. The people I looked at them all
the way across this continent. Oh, I got so tired.
Looking at them on farms in towns in cities are like toys

(01:42:30):
that you wind up and they'll runa while.
They don't want to be expressed,it would topple them over the
longer. I looked the more ridiculous, it
seemed to me that we should be giving our lives to picks up the
magazine and reads the people. A journal of the social
Revolution. Certainly, we'd better cut the

(01:42:51):
subtitle. The social Revolution is dead.
You don't think you are bringingback any news.
Do you add artist takes up the magazine.
Instead of a subtitle, we could have a design much better.
Glares at Oscar, then begins to draw.

(01:43:13):
This is a long way from what youfelt a year ago.
I said you had a vision, then you can't keep Vision in this
office, it's easy enough to havea beautiful feeling about the
human race. When none of it is around the
trouble about doing anything foryour fellow man is that you have
to do it with a few of them. All, of course, that isn't fair.

(01:43:33):
We care. I'll say that for us, even Oscar
cares or he wouldn't work the way he has.
But what does our caring come to?
It doesn't connect up with anything and God knows.
It doesn't seem to be making anything.
Very beautiful of us. There's something rather
pathetic about us or is it merely ridiculous?

(01:43:56):
Let me read you something. Ed takes up the magazine reads.
Very simply, we are living now. We shall not be living long.
No one can tell us. We shall live again.
This is our little while. This is our chance and we take
it like a child who comes from adark room to which he must

(01:44:17):
return comes for one. Sunny afternoon to a lovely
Hillside and finding a whole crawls in there till after this,
Sun is set. I want that child to know the
sun is shining upon flowers in the grass.
I want him to know it before. He has to go back to the room.
That is Stark. I wish I had pipes to call him

(01:44:37):
to the hilltop of beautiful distances.
I myself could see further if hewas seeing at all, perhaps I can
call you. You who have dreamed and
dreaming know and knowing care move, move from the things that
hold you if you move other We remove come now before the sun

(01:44:59):
goes down. You wrote that Ed.
Yes, I wrote it. And do you want to know why I
wrote it? I wrote it because I was sore at
Oscar and wanted to write something to make him feel
ashamed of himself. while Sarah is reading, the woman has
appeared at the door and has moved in a few steps into the

(01:45:22):
room as if drawn by the words she is hearing Behind her are
seen, the boy from Georgia. The man from The Cape.
The woman moving forward. I don't believe that's true.
I don't believe that's true. Maybe you think that's why you
wrote it but it's not the reasonyou wrote it because it's the

(01:45:43):
Living Truth and it moved in youand you had to say it.
And Rising. Who are you?
I am one of the people. I have lived a long way off.
I heard that call and I had to come I've come to I'm from

(01:46:03):
Georgia, I read it and I didn't want to stay at school any
longer? I said I want something
different and bigger something more like this.
I heard about your not being able to sell your paper on the
newsstands, just because lots ofpeople don't want anything
different and bigger. And I said to myself, I'll sell

(01:46:26):
the paper. I'll go and sell it on the
streets and I got so excited about it, that I didn't even
wait for the dance. There was a dance at night and I
had my girl too. He didn't even wait for the
Dons. The idealist are calling upon
the intellectuals and calling them.

(01:46:48):
Ed to the man. And what did you leave my
friend? The man heavily.
Myo Easter bed. I'm from the cape.
I had a chance to go in on an oyster bed.
I read what you wrote a woman who had stopped in an automobile
left it and I said to myself, I'm nothing.

(01:47:11):
But an oyster myself. Guess I'll come to life.
But what did you come here for? Well for the rest of it.
The rest of what the rest of what you've got.
Yes, that's it. We've come for the rest of what
you got. This is awkward for ad.

(01:47:34):
Give it to us, what? The rest of it.
I haven't got anything more to give, but you made us think you
had. You led us to believe you had,
and you have if you hadn't more to give you couldn't have given
that area awkward. You said I call to you you who

(01:48:00):
have dreamed and dreaming know and knowing care.
Well three of us are here from the south and the East and the
West. We've come because you made us
want something. We didn't have made us want it
so much. We have to move the way we
thought was towards it before. The sun goes down.
We thought people here had life,something different and bigger.

(01:48:25):
Perhaps we'd better go poor Ed. I wish you'd shut up Oscar I
know you will give it to us. Give what do you what do you
have for the people ask her coughs.
What you made us know we need you shouldn't have called
personally. You should have sent in your

(01:48:46):
needs by mail Oscar try and act as if you had a soul.
I think he really has a look at Oscar, then warmly.
At least he has a heart. It's only that he feels, he must
be witty, but you you're not going to let us just go away
again. Are you?

(01:49:06):
He gave up his Oyster Bed and this boy didn't even wait for
the dance. And me, I gave up my Tombstone,
your yes, Tombstone. It had always been a saying in
our family. He won't even have a stone to
mark his grave. They said it's so much in.
So solemnly that I thought it meant something, I so plain

(01:49:28):
sewing but I've often said to myself, well, at least I'll have
a stone to mark my grave. And then there was a man who'd
be making speeches to the minors.
I live in a town in Idaho and hehad your magazine and he left it
in the store and the store. Keeper said to me, when I went
there for thread here, you like to read, don't you want this?

(01:49:51):
I wish you would take it away because if some folks in this
town see it they'll think I'm not all I should be.
He meant the cover. The artist brightening that was
my cover. The woman after a smile at the
artist. So I took it home and when my
work was done that night, I readyour wonderful words, they're

(01:50:15):
like a spring. If you've lived in a dry
country, you'll know what I meanand they made me know that my
Tombstone was as dead as well with a little laugh as dead is a
tombstone. So I had to have something to
take its place. Tara rising and going to the
woman talk to him. Tell him about it.

(01:50:38):
Come Oscar as long as there seems to be so much uncertainty
about this. Perhaps I'd better Telegraph
father. You see the folks don't know
where I am. I just came, he didn't even stay
for the dance. I'll be glad to sell the papers
being a pile of them on the table.

(01:51:00):
Here, shall I? Take these and I'll stop people
on the street and tell why I'm selling them.
No, you can't do that. You'd be arrested.
Let him sell them. What's the difference about the
law? If you have the right idea, the
right idea is given us trouble enough already.
There's something sure about an oyster bed.

(01:51:23):
You come with me and have a drink.
Something. Sure about that too.
He could have had a drink at home.
Dara to the artist coming Joe. To the boy.
It was caulking of you to want to help us.
We must talk about all go out except the woman and the editor.

(01:51:46):
A pause, I am sorry for you. Why the woman feeling her way?
And sadly, because you have the brain to say those things are
not the spirit to believe them. I couldn't say them.
And yet, I've got something you haven't got because I know the

(01:52:07):
thing you said was true, will you sit down?
No, I'll go Dan's there and certainly I don't know why I
should be disappointed. I suppose it's not fair to ask
you to be as big as the truth. You saw.
Why should I expect you would be, I'm sorry, I suppose now.

(01:52:29):
You'll regret your tombstone. No, it was wonderful to ride
across this country and see all the people the train moving
along seem to make something move in me, I had thoughts not
like any thoughts I've ever had before your words like a spring,
breaking through the dry countryof my mind.

(01:52:49):
I thought of how you call your paper, a journal of the social
Revolution and I said to myself,this is the social Revolution
knowing that your Tombstone doesn't Matter seeing that's the
social Revolution seeing. The woman as if it is passing

(01:53:11):
before her a plain dark trees off at the edge against the
trees, a little house and a big barn.
A flat piece of land. Fenced-in stubble 40's horses
waiting to get in at Van cow. Standing around a pump a tile
yard. A water tank, One Straight

(01:53:32):
Street of a little town, the country.
So still it seemed dead the trees like hopes that have given
up the graveyards on Hills. They come so fast.
I noticed them first because of my Tombstone.
So I got to thinking about the people.
People, the people who spent their whole lives, right near
the places where they are. Now, there's something in the

(01:53:55):
thought of them, like the cow standing around the pump, so
still so patient. It kind of hurts and their
Pleasures are flat field. Fenced in your great words,
carried me to other great words.I thought of Lincoln and what he
said of a few of the dad. I said it over and over, I said

(01:54:18):
things and Not know, the meaningof them.
Till after I had said them, I said the truth, the truth, the
truth that opens from our lives as water opens from the rocks.
Then I knew what that truth was.I was with an intensity,
particularly simple letters here.

(01:54:39):
Highly resolve that these dead shall not have died in vain.
I mean, all of them, adjuster wide loving, let life become
what it may become. So beautiful that everything
that is back of us is worth everything.
It costs, In turret armed printer.

(01:55:01):
I've Got a Feeling something strange.
So the button but I can still get that job on the evening
world. If this paper is going to stop,
I've got to know it. Stop this paper.
Can't stop. Can't stop last.
I heard it. Couldn't do anything else.
That was long ago. Oh, you've got something to go

(01:55:23):
on with yes. Something to go on with.
I see looks at women as if he didn't see glances at her
suitcase. I'm glad but I've got to be
sure. This is the truth, the truth,
the truth that opens from our lives as water opens from the

(01:55:44):
Rocks, Tom backs up the woman turning a shining face to the
printer. Nobody really needs a tombstone.
Curtain. And of the people.
And of the people.

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One-Act Play Collections - Book 10, Part 2

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