November 5, 2024 • 43 mins
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Episode Transcript
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Speaker 1 (00:00):
Mystery theater.
Speaker 2 (00:18):
Come in welcome.
Speaker 1 (00:22):
I'm E. G.
Speaker 2 (00:23):
Marshall, practitioner of the seventh oldest professional storyteller, spinner of tales,
weaver of dreams, especially those that are dark and foreboding.
An ancient poet wrote, forgetfulness, sweet and blessed. Forgetfulness is
(00:46):
the most precious gift of the immortal gods. For the
innocent to forget, and for the guilty to be forgotten
is to receive, finally, the benediction of m.
Speaker 1 (01:00):
Easier, the sweetest spirit of all.
Speaker 2 (01:03):
For amnesia sits patiently beside the never ending stream of time,
bestowing her largess on the innocent and the guilty.
Speaker 1 (01:13):
I like, Jerry, Jerry, Eric, what's wrong? I'm in trouble.
What kind of trouble? I'm scared? Scared steff. No, whatever
it is, kid, I'll stand by you. Now. What did
you do? I killed a man, all right, kidd? Now?
(01:34):
Who was it? Man named Jamie Parsons? Who they said
his name is Jamie Parsons. Eric, How could you kill
Jamie Parsons? I did? I did? I shot him ten
minutes ago. No, kid, you deadn't now? How could you?
(01:57):
Jamie Parsons has been dead for fifty year.
Speaker 2 (02:09):
Our mystery drama A Bride for Death, was written especially
for the Mystery Theater by Sam Dan and stars Tony Roberts.
We are still a young and boisterous country, filled with
(02:32):
optimism and high spirits, at least we like to think
we are, and we endorse positive thinking.
Speaker 1 (02:39):
We're convinced that the pot of gold lies at the
end of.
Speaker 2 (02:43):
The rainbow, and that sterling silver lines every cloud, and
so our language has no word to match one that
is so familiar to the Germans Veltschmertz, which means a
melancholy weariness with the futility of life. Which is not
to say that we don't encounter it here and there.
(03:04):
We do, but it's not really what you could consider
a mainstream of fliction.
Speaker 1 (03:10):
Well, good morning, Martha.
Speaker 3 (03:12):
I'm just taking your pancakes off the griddle.
Speaker 1 (03:14):
Well, that's life. You know what life is timing? Now
you be there at that exact split second.
Speaker 4 (03:19):
That's enough, Jerry.
Speaker 3 (03:21):
Two philosophers in this house at one time is.
Speaker 1 (03:24):
More than I can put up with. Shakespeare down in
And don't call him Shakespeare, why not, he's poet? Ain't
he here?
Speaker 3 (03:30):
Feed your face and give us a rest.
Speaker 1 (03:32):
Okay, okay, you tell me. Now, here's a boy twenty
five years old. He's been to college, means he's got brains.
He's good looking, means he's got no problem with women. Cherry,
I'm worried about Eric. Worried Bryan out loud? What's his problem?
Speaker 4 (03:50):
I don't know.
Speaker 1 (03:52):
Doesn't help that he can come run into his big
sister anytime he needs.
Speaker 4 (03:56):
Just that, I don't know.
Speaker 1 (03:57):
He feels rejected, rejected. Why that boy is welcome wherever
he goes.
Speaker 3 (04:02):
No, Jerry, he's actually being rejected by the editors. He
sends his poetry into a magazine and back it comes
with a rejection slip.
Speaker 1 (04:12):
Hell, I read some of those poems, and well I
couldn't make it a dail out. Oh what do you know? Well,
I know what I like. You know what he ought
to do? He should get a job.
Speaker 4 (04:26):
He's trying to find himself.
Speaker 1 (04:28):
Oh I pass morning.
Speaker 3 (04:31):
Oh Eric, you're just in time for breakfast.
Speaker 1 (04:33):
I only wants some coffee. You can tell him this
is a city boy, Eric, you.
Speaker 3 (04:37):
Really are to have a good breakfast. Sugar and fresh cream.
Speaker 1 (04:41):
Eric, I'll take a black. I've got this headache. Oh,
you better see a doctor on it. He doesn't need
a doctor. He needs to have a good time, a raid,
a little hell. And once you come with us, Eric,
get into the dance at the Grange Hall to night,
put your arm around a pretty girl. The whole world
is different. I wish the whole world could be different.
You just can't get serious at this hour in the morning.
(05:06):
Eh he going out for a ride. Saddle up, duke
or admiral and you just look at that sky and
you just breathe that air and enjoy that sun. And uh,
you know how you feel. I remember that poem you
once recited when you were a kid, and you'll say
it again. God's and here's heaven and all right with
the world. I wondered lonely as a clouds that floats
(05:39):
on high or too holy, Holy boy, I can't be.
Can't be some miarage. Stay here to because plenty nice grass.
Have you lunch. I have to find out about this.
(06:03):
It's incredible out here, this type of architecture out here.
Speaker 4 (06:11):
Jamie, Jamie Darling. I knew you'd come up.
Speaker 1 (06:15):
Oh, I'm sorry, I'm not Jamie. I see her.
Speaker 5 (06:20):
I've been waiting for Jamie to come back from the war.
Speaker 4 (06:24):
The war, Yes, the war, and now I know. Now
I know who you are?
Speaker 1 (06:31):
Well who am I? You are?
Speaker 5 (06:34):
You are Jamie's best friend is Buddy and the phithen
Jamie fell, and he died in your arms.
Speaker 4 (06:39):
And with his dying breath.
Speaker 5 (06:41):
He made you swear to come and tell me I'm
the only one he ever loved.
Speaker 4 (06:46):
To finished crying for Jamie. You and I will fall
in love.
Speaker 1 (06:52):
I almost wish that were true, but that's not what happened.
I was just riding by and I was struck by
the look at the house.
Speaker 4 (07:00):
Were you?
Speaker 1 (07:01):
It's fantastic. It's ornate, Late Victorian architecture is so perfectly preserved.
You like it, it's fascinating.
Speaker 5 (07:11):
Well, I think it's just too much gingerbread. Granddad built it.
I've never seen you around here.
Speaker 1 (07:20):
I'm visiting. Jerry Carroway's my brother in law.
Speaker 4 (07:23):
You can't mean Jerry. You mean Oscar.
Speaker 5 (07:25):
No, Oscar Carroway owns the farm over on Stillwell Creek.
Speaker 1 (07:29):
I think that's what they call it.
Speaker 5 (07:31):
Well, that's Oscar. Jerry can't be anybody's brother in law.
Speaker 4 (07:36):
He's hardly a year old.
Speaker 1 (07:39):
Well, I suppose we're talking about two different people.
Speaker 5 (07:42):
Now, if you came to the caraways, I am going
to invite you to come inside and have a nice,
cool glass of lemonade.
Speaker 1 (07:49):
Oh thank you.
Speaker 5 (07:53):
Come on into the parlor and we'll sit. I don't
know what's the matter with me. My name is Dewey Sandford.
Speaker 1 (08:01):
And I'm Eric Mills. I can't get over this. What
the way this place is furnished, and that phonograph.
Speaker 5 (08:12):
Oh yes, everything is the latest from all the way
over to Omaha.
Speaker 1 (08:17):
Everything is so authentic. And I think the telephone is
a great final touch.
Speaker 4 (08:22):
Well it's just an all day old telephone.
Speaker 1 (08:24):
Old, is right. Well, that's practically an antique. They used
to have those about the nineteen twenties. I've seen them
in the movies.
Speaker 4 (08:32):
Do you like movies?
Speaker 1 (08:34):
Well, some of them.
Speaker 4 (08:34):
What's your favorite?
Speaker 1 (08:36):
Well, I have my own taste. I mean my favorite
movie happens to be I don't laugh. Birth of the
Nation sort at a retrospective in the museum.
Speaker 4 (08:48):
We saw that. And down at the Biju.
Speaker 1 (08:50):
Do you have a theater that shows old pictures.
Speaker 4 (08:52):
Little pictures, new pictures, any kind.
Speaker 1 (08:55):
Everything here is so so what that one word It
just covers everything authentic, even your dress Oh, this is
just a silly old you know. Nowadays there's no style,
there no set style. The girls dress any which way,
but yours is definitely nineteen twenty ish.
Speaker 4 (09:17):
Well, I should hope.
Speaker 5 (09:18):
So Dad's taking me shop in Omaha soon as you
get back from Washington.
Speaker 4 (09:22):
Oh do you like politics?
Speaker 1 (09:25):
No? No, definitely not.
Speaker 5 (09:26):
Oh don't you ever say that in front of Dad.
Speaker 4 (09:30):
I told you.
Speaker 5 (09:30):
Dad's in Washington visiting with President Wilson.
Speaker 1 (09:33):
But Wilson isn't the president.
Speaker 4 (09:35):
Oh that's right, he isn't.
Speaker 5 (09:38):
I can't get used to the idea that new one.
Mister Harden, missus Warren. The meal hard and there's a
mouthful for you.
Speaker 4 (09:47):
But Dad was against him at the convention.
Speaker 1 (09:50):
The way you talk, I almost believe you.
Speaker 5 (09:53):
Why you can read it in the newspapers. Dad is
an important man. He's going to run for governor. You
just asked, mister Carroll, if that's not so?
Speaker 1 (10:01):
No, no, no, what I mean.
Speaker 4 (10:04):
Didn't sound like bragging on my part.
Speaker 1 (10:06):
Everything is so you don't believe.
Speaker 4 (10:10):
You don't believe a word I say.
Speaker 5 (10:13):
All right now here, now just read it for yourself
in yesterday's paper.
Speaker 4 (10:18):
Now, what does that headline say?
Speaker 1 (10:20):
This is The Rocky Mountain Advocate and Messenger, July eighteenth,
nineteen twenty one. Even the newspaper, it's so carefully preserved, preserved.
Speaker 5 (10:34):
I would anyone want to preserve a copy of the
silly old adness?
Speaker 4 (10:37):
You always get a fresh one the next day.
Speaker 1 (10:40):
If only this period had never passed away.
Speaker 5 (10:44):
You know, I don't understand half the things you say,
but I love to listen.
Speaker 1 (10:50):
Do you suppose that I could call on you again? Oh? Well,
I understand. There's a dance at the Grange Hall. How
would you like to go? I'd love it great, I'll
pick you up it.
Speaker 5 (11:06):
Oh no, I I better not.
Speaker 1 (11:09):
Why Jamie, Jamie, we we're engaged, and it wouldn't be
right for me to go to a dance with another man.
But Jamie's been missing.
Speaker 5 (11:21):
In action, you say, and yes, and everybody says he's dead.
Speaker 1 (11:26):
I'm sorry.
Speaker 5 (11:26):
And if I went to a dance with someone else,
it would be my way of saying to the world
that I thought he was dead too. And I don't
want to say that.
Speaker 4 (11:38):
I just don't want to say that, Julie.
Speaker 1 (11:40):
I don't think people would say that we.
Speaker 5 (11:42):
Better not stay here any longer, Junior. If I say,
any please go, I must ask you to leave. But Julia, please.
Speaker 4 (11:56):
Supper and a high hour.
Speaker 1 (11:57):
Jerry, mm mm that smells great. Now whatever do you
put in your student?
Speaker 4 (12:03):
Cooking is my business.
Speaker 1 (12:05):
I have to hand it to you. Mark. It's a
miracle business. I ever deadly has done wonders for Eric.
He's chopping wood, he's humming a tune. Eric, happy as
a jay bird?
Speaker 4 (12:17):
What's got into him?
Speaker 1 (12:18):
You're cooking? Now? What else? Hell? Folks, how's not happy?
To the homestead?
Speaker 4 (12:25):
Eric Darling? Are you all right?
Speaker 1 (12:27):
No? I'm not all right. I'm magnificent, spectacular?
Speaker 4 (12:30):
What's gotten into you?
Speaker 1 (12:32):
The friends say, share she la fan, Oh you'll be quiet?
Oh he's right?
Speaker 4 (12:37):
Oh who is she?
Speaker 1 (12:39):
Well? Thet maybe one or two little complications there, but
there's nothing I can't handle. Why didn't you tell me?
Tell you what? Tell me? You had a museum? Here?
Museum out? Eric's a wild place and it's a jim
It's authentic to the tiniest detail.
Speaker 3 (12:55):
Eric, Please tell us what you're talking?
Speaker 1 (12:57):
Dedicated to the nineteen twenties? What is this museum? All right? There?
In any museum? Yes, yes, there is where? Oh come
on now, quit pretending. She works there. I suppose she's
the curator. Who her name is, Julia? Julia? Oh you'd
know who she is, Jerry, because she has to be
(13:17):
the prettiest girl in term. Eric, this museum just tell
us where it is, got us down the road from here.
It can't be one two miles has the most beautiful
garden and lawn, and the house is a perfect example
of Lake Victorian. I think it's called the Sandford House.
It's the most beautifully kept. What are you looking at
(13:39):
me like that?
Speaker 4 (13:40):
For?
Speaker 1 (13:41):
Eric?
Speaker 3 (13:42):
The Sandford House is an old ruin.
Speaker 4 (13:45):
It's falling apart.
Speaker 3 (13:46):
But I was, and it's so overgrown that if you
didn't know it was there, you couldn't even see it
from the road.
Speaker 1 (13:52):
No, I was just inside and it was Eric. Are
you sure that you I was? I was inside the
most beautiful laddie. You think you'd better see a doctor, Erica,
But I was. Eric.
Speaker 3 (14:10):
Do you want us to ride back there with you
and prove it?
Speaker 1 (14:14):
Are you saying that the girl, the house, that the
was all a dream? But I wasn't dreaming. I know
I wasn't dreaming, and.
Speaker 2 (14:28):
He wasn't because we were there too. Unless it's possible
that we were dreaming. Also, well, every young man should
have a wonderful girl of his dreams, and it's just
fine if that's where she stays.
Speaker 1 (14:46):
It's when she materializes that you can run into a problem.
Speaker 2 (14:51):
I shall materialize again shortly with that too. What happens
to the past? Or put it this way, what is
the past? Is it a record or an impression? Does
(15:16):
it exist only as a rapidly receding and fading memory,
or does it maintain a solidity and a substance. Who
has not remarked at least once? Where has the time gone?
Does this mean we really believe that time goes somewhere?
If so, where Eric Mills is convinced he has found
(15:40):
the answer.
Speaker 1 (15:41):
I know I wasn't dreaming.
Speaker 4 (15:44):
Maybe you were, Eric.
Speaker 1 (15:45):
Everything was surreal.
Speaker 3 (15:47):
All this is coming out of your head. It's your fantasy.
Speaker 1 (15:50):
But everything was so I keep saying the word authentic.
She even knew your father's name, Jerry Oscar. It's like
Martha says, Eric, this is what you know. I never
knew your father's name was Oscar.
Speaker 3 (16:04):
Of course you did not consciously, perhaps, but I.
Speaker 1 (16:07):
Can swear I saw Eric. Yet now you did see it.
Now you wanted to see it. You know what I mean.
I mean, for some reason you you got a notion
that life was better in the twenties.
Speaker 3 (16:18):
Wait a minute, nineteen twenty.
Speaker 4 (16:23):
Remember Eric, do you remember.
Speaker 1 (16:24):
Remember what the bottlesby tavern and inn? No?
Speaker 3 (16:28):
No, oh, you do you do up in Connecticut? Mom
and Dad took us there every summer? What does this
have to there was that poem printed on the wall?
Speaker 1 (16:37):
What poem about the year.
Speaker 3 (16:39):
Nineteen twenty, the year the tavern was built?
Speaker 1 (16:43):
I don't remember anything about it.
Speaker 3 (16:44):
Sure, look you weren't even four years old, and I
recited the poem and you were able to memorize it
just from hearing me read it once.
Speaker 4 (16:54):
Mom thought you were a genius.
Speaker 1 (16:55):
I don't know what you're talking about, Marca.
Speaker 4 (16:57):
Listen.
Speaker 3 (16:58):
Uh see now I was built in nineteen twenty in
a time of peace, as a place of plenty.
Speaker 4 (17:08):
Let no care or trouble enter.
Speaker 3 (17:12):
Oh, finish it for me, Eric.
Speaker 1 (17:15):
For love and joy are at my center.
Speaker 4 (17:18):
You see?
Speaker 1 (17:19):
Or what does that prove? I mean that I could
that I could make up a whole thing about being
back in the twenties. You could do anything, Jerry. What
I mean is with his imagination anything is possible, he say.
Speaker 3 (17:30):
And you've talked about the twenties, or maybe I had
as a.
Speaker 1 (17:33):
Writer, as a poet.
Speaker 3 (17:35):
Would you have rather lived then or now?
Speaker 1 (17:39):
What kind of question is that he'd be dead now
if he lived back?
Speaker 3 (17:42):
He knows what kind of question it is, whatever.
Speaker 1 (17:45):
You say, I know where I was this morning.
Speaker 3 (17:48):
Yes, Jerry, where you always wanted to be back in
the twenties, when it was easier to be a poet.
Speaker 1 (17:55):
Martha, everything is relative to when you were alive.
Speaker 3 (17:58):
But you'd rather have been alive when Hemingway was young,
with Fitzgerald. You'd want to be in Paris with Gertrude
Stein and Picasso. You feel that people like them would
be more more apt to notice you're worse than the
people of today.
Speaker 1 (18:12):
Oh what if that's true?
Speaker 4 (18:14):
What if it's true?
Speaker 1 (18:15):
Yeah? Sure, I mean the twenties were a more exciting
time to be alive. But does that mean that I
could just conjure them up? It's real? I knew it
(18:38):
was real.
Speaker 5 (18:52):
Oh, Julia, Oh now I said I could not go
to that.
Speaker 1 (18:56):
Don May I come in? Well just for a little while,
all right, But just a little while, Julia. I had
to come back to.
Speaker 4 (19:10):
You I mack, If you're going to start that kind
of talk, I'll have to ask you to leave right now.
Speaker 5 (19:15):
After all, after after all, I am an engaged girl.
Speaker 4 (19:22):
Oh listen, isn't that a swell number? I promised Dad
I wouldn't use that word? What word swell? Dad hates slang?
Speaker 1 (19:33):
Julia? May I ask you a question? What year is this?
Speaker 4 (19:40):
Kind of a question? Is that?
Speaker 1 (19:42):
Please? Julia?
Speaker 4 (19:43):
Only this morning you saw the paper?
Speaker 1 (19:45):
What year is it?
Speaker 4 (19:47):
Is there a reason why you wouldn't know?
Speaker 1 (19:49):
Could you tell me?
Speaker 4 (19:51):
It is July nineteenth, nineteen twenty one?
Speaker 1 (19:55):
You sure of that?
Speaker 4 (19:57):
Honestly? Eric?
Speaker 1 (20:00):
What's that? What's what? Don't you hear it?
Speaker 4 (20:06):
Oh? I here's the train?
Speaker 1 (20:08):
That's what I mean? The train. There hasn't been a
train here?
Speaker 5 (20:12):
And what I used to say, miss the ODP ODP,
the Omaha, Denver and Pacific?
Speaker 4 (20:19):
Silly, everybody knows. Are you sure you're all right?
Speaker 1 (20:25):
Yes? Yes, I'm sure you know.
Speaker 5 (20:28):
This afternoon, I promise you a glass of lemonade.
Speaker 4 (20:32):
I think you could use some refreshment.
Speaker 1 (20:34):
Now, excuse me, I heard it, I know I heard it.
Speaker 6 (20:41):
Wait a minute, hello, hello, uh information Please?
Speaker 4 (20:52):
I can give you any information you want.
Speaker 1 (20:54):
Do what you have a number for mister Jerry Carroway,
Jerry Carroll.
Speaker 4 (21:00):
Well, I no, Oscar sparles that child something fierce.
Speaker 3 (21:03):
But ain't about kiviiro baby phone number of his own?
Speaker 4 (21:07):
Do you want Oscar's number?
Speaker 5 (21:10):
Uh?
Speaker 1 (21:11):
What's the number of the movie theater in town?
Speaker 7 (21:14):
Oh?
Speaker 4 (21:14):
Why do you want to know?
Speaker 1 (21:16):
I want to find out what's playing?
Speaker 4 (21:18):
Well, I ask me, I should know.
Speaker 3 (21:20):
There's a picture called Intolerance with just a green No, No,
what do you mean?
Speaker 4 (21:27):
No, I'm telling you what's playing at the movie.
Speaker 1 (21:30):
I mean, I mean it's wonderful, that's what I heard.
Speaker 3 (21:34):
But a lot of folks say it's a little too serious.
Now over a council, folks, they got a funny comedy
with at firty obu, No, he is.
Speaker 1 (21:41):
A scream thank you, thank you very much?
Speaker 4 (21:45):
Anything else here you want to know?
Speaker 1 (21:48):
Parmise you won't lie.
Speaker 4 (21:50):
If it's funny. I can't promise.
Speaker 1 (21:52):
What a year is this?
Speaker 6 (21:55):
You're a card?
Speaker 1 (21:56):
All right? What year is it?
Speaker 7 (22:00):
On one?
Speaker 4 (22:01):
Everybody knows that.
Speaker 1 (22:03):
Thank you, thank you? Nineteen twenty one?
Speaker 4 (22:09):
And here we have some of Amy's famous lemonade. Yet good.
Speaker 5 (22:19):
I never knew if the boys were coming over for
me for the lemonade.
Speaker 1 (22:24):
Julia, Julia, what is it? I'm so happy?
Speaker 4 (22:32):
Oh now just excuse me, hello, Julia, Oh what is it? Gordean? Julia?
Speaker 5 (22:40):
Are you all right? Sure?
Speaker 4 (22:42):
Who? Well? Some man plays a call from your home
just before Yes.
Speaker 3 (22:47):
And he's sounded just a kind of bit peculiar to me.
Speaker 4 (22:50):
Gorgee. I'm just wondering should I call here? Sometimes? You
are so silly? Will be it be silly? And sorry?
Good night?
Speaker 7 (23:02):
Eric?
Speaker 5 (23:02):
What did you say to scare Courgeen Cordeen, the telephone operator?
Speaker 1 (23:09):
I admit I sounded crazy?
Speaker 4 (23:11):
What did you say?
Speaker 1 (23:12):
I asked her what year it was?
Speaker 4 (23:15):
So? Why do you have to keep asking? Don't you know?
Speaker 1 (23:18):
Julia? I could never explain it, and you could never understand.
Then why Bob? I want to stay here? Julia? Here here? Well?
Speaker 4 (23:29):
How would it look?
Speaker 1 (23:31):
Well? We could get married?
Speaker 3 (23:33):
You what.
Speaker 4 (23:35):
There's Jamie?
Speaker 1 (23:37):
World War one has been over for three years? Now?
Speaker 4 (23:42):
What'd you call it world War one?
Speaker 1 (23:44):
If you haven't found him in those.
Speaker 4 (23:46):
Three why did you call it world War one?
Speaker 1 (23:49):
He has got to be dead.
Speaker 4 (23:51):
Why did you call it world War one?
Speaker 1 (23:55):
Because in twenty years there's going to be World War Whooo?
Speaker 4 (24:05):
Youre joke. Listen, there can't be any more wars after
all we went through. Well people, aren't that stupid?
Speaker 1 (24:14):
Do you believe that?
Speaker 4 (24:15):
So what else can you believe?
Speaker 1 (24:17):
Julia? You have got to tell me. Do you love Jamie?
Speaker 4 (24:22):
Well? What business is that of yours?
Speaker 1 (24:26):
I have to know.
Speaker 5 (24:29):
We kept company for a while and when he left
for France he asked me to wait for him.
Speaker 4 (24:35):
And could I could?
Speaker 1 (24:38):
I say, no, Are you in love with him?
Speaker 4 (24:41):
Oh? I don't know.
Speaker 1 (24:43):
Are you in love with him? Well? No, but I
promise you can't make that kind of promise. You can't
give him what you don't have, and what you don't
have for him is love.
Speaker 4 (24:57):
Well, how do you know?
Speaker 1 (24:59):
Because you love me? Well? Makes you think that you
love me? Julia? You have to love me?
Speaker 4 (25:07):
Why?
Speaker 1 (25:08):
Because it's right? Because it makes sense. It simply has
got to be. Oh, Eric, don't waste time, Julia. There
is so little time. People don't realize how little time
they really have. Come on for a walk, but there's
no place to go. Oh, yes there is. We'll go to town.
Speaker 4 (25:27):
Well there's nothing doing it?
Speaker 7 (25:28):
Yes, yes, I'll show you.
Speaker 4 (25:39):
You are having so much trouble with.
Speaker 1 (25:41):
Dad's old I can't get used to the way these
gears shift.
Speaker 4 (25:47):
Well, here we all it's beautiful. Well, nothing ever happens here.
Speaker 5 (25:54):
There's the drug store and the hay and feed stone
and the room picture house, and they just took the
sidewalks in for the night. There's a local joker. Oh
on the train, let's stop at the station. Well, if
somebody flags it down.
Speaker 1 (26:15):
What's the matter?
Speaker 4 (26:16):
Oh, that's old to Haskins.
Speaker 5 (26:17):
I don't wanted to see me out with a fellow
be all over town. Take me home, Marrik, Eric, he's darling.
I think you better go, Yo, it's late.
Speaker 1 (26:41):
No, not just sit by me for a while. Why
am I thinking of a certain poem? I don't know.
Why do I see the words from too much love
of living, from fear and hope, set free, think with
brief thanksgiving whatever gods there be, that no life lives forever,
(27:09):
that dead men rise up, never that even the weariest
river winds somewhere safe to see. Oh I like that.
Speaker 5 (27:23):
I believe it, that no life lives forever, that dead
men rise up.
Speaker 1 (27:31):
Never that even the weariest river.
Speaker 4 (27:36):
Winds somewhere safe to see. Would you write that down
for me?
Speaker 1 (27:41):
Eric?
Speaker 5 (27:42):
Of course, Darling, paper and a pencil.
Speaker 1 (27:46):
That no life lives forever.
Speaker 5 (27:53):
Eric, I know now, I know in my heart that
Jamie is Jamie is dead, and I'm glad.
Speaker 4 (28:07):
I shouldn't have said that.
Speaker 5 (28:09):
But you see now, I know that our love, which
is so sweet to us, will cause no one else.
Speaker 1 (28:15):
Pain, and even the weariest river winds somewhere safe to
see here.
Speaker 5 (28:26):
Oh, Eric, this is the first gift you ever gave me.
Speaker 1 (28:32):
We're safe, We're safe here. It's just as I dreamed
it would be. Oh.
Speaker 4 (28:40):
Oh, that must be Dad calling from Washington. D C.
Speaker 5 (28:43):
Is probably gonna tell me about his meeting with the President.
Speaker 4 (28:45):
Well, I'll have more important news for her, And I
want you to say a load of Dan. Hello, Daddy, Daddy. Oh,
who is this Jamie?
Speaker 1 (29:02):
As to him, it's Jamee.
Speaker 2 (29:10):
And now among the beautiful sounds of this beautiful world,
we here introduced a new note, and we know very
well it must be a note of discord. And was
the poet right? Is it true that dead men rise up?
Speaker 1 (29:27):
Never?
Speaker 2 (29:28):
Where has Jamie come from?
Speaker 1 (29:30):
And where is he going?
Speaker 2 (29:32):
I shall have the answers when I returned shortly with
Act three, And suddenly it's nineteen twenty one. For Eric Mills,
(29:53):
who wasn't even born then. Nineteen twenty one, a year
of innocence and most important, peace, not just the absence
of war, but peace. And Eric Mills has somehow sought
it out as a refuge from the deceptions and the
dejections of the jet age. He has even found Julia,
(30:16):
but so has Jamie, Julia's dough boy fiance who evidently
didn't die at Chateau Terry.
Speaker 4 (30:24):
Jamie, they told me you were dead.
Speaker 1 (30:29):
They left me for dead. And for a long time
I didn't know who I was. And then I remembered.
I remembered you, and I've come.
Speaker 4 (30:37):
Home off the train, Jamie.
Speaker 1 (30:41):
I'm come home, Julia. I'm coming home to you. And
then I'll run from the station. I'll run all the way,
Jamie Waite, you remember the way, run all the way.
I can run even.
Speaker 4 (30:48):
Fast, Jamie. There is something I must tell.
Speaker 1 (30:50):
You, something I must tell you. I'll see you very soon.
Speaker 4 (30:56):
It's Jamie, and he's alive.
Speaker 1 (31:01):
Going You and I we love each other. But that
was before before what before I knew it was alive.
Our love has nothing to do with anyone else.
Speaker 4 (31:13):
Jamie still believes a lie. Oh don't say it that
way I was gonna say it.
Speaker 1 (31:19):
If you love me, then Jamie believes a lie.
Speaker 4 (31:22):
Eric, Please go quickly?
Speaker 1 (31:25):
Why before I get to No, I'm frightened.
Speaker 5 (31:29):
Don't be I'm frightened here, No, Darling, I'm frightened, not
for me, for you, Julia.
Speaker 1 (31:35):
There is nothing to be frightened of.
Speaker 4 (31:38):
Is you don't know him the way I do.
Speaker 1 (31:39):
It doesn't matter.
Speaker 4 (31:40):
He's got a violent temper.
Speaker 1 (31:42):
He'll be bad enough to kill you, and I'll have
something to say about that. Who says he can kill me?
Is it that if you kill him it's better for me?
Speaker 4 (31:51):
Eric, I don't want you to to to be hurt.
Speaker 1 (31:54):
What can I do? I won't give you up.
Speaker 4 (31:57):
I don't know what to do.
Speaker 1 (31:59):
I am Julia. You love me, I love you. We
have a right to be happy and Jamie. Sometimes there's
only one way to say something. The only way I
can say it is it's just too bad about Jamie.
Speaker 4 (32:15):
But I don't want us to hurt him.
Speaker 1 (32:16):
If Jamie is reasonable and sensible, why should anyone be hurt?
Speaker 4 (32:22):
Eric is here, he's here.
Speaker 1 (32:23):
Yes, I'm terribly frightened. Listen.
Speaker 4 (32:27):
Jamie is crazy.
Speaker 1 (32:29):
He's always been a little bit crazy, but now, Julie,
come back home.
Speaker 4 (32:35):
Jamie.
Speaker 1 (32:37):
Hello, Jamie, Hello, j Jamie is all you can say, Jamie?
Speaker 5 (32:45):
Who says Jamie Parsons, Eric Mills, he's a friend.
Speaker 1 (32:51):
Oh that's not exactly true. I am more than a friend, Julia,
and I plan to get married. You what you heard
what I said? And never mind never what you said?
I want to hear what Julius says. Well? Oh no,
is it true? Oh James, Jamie? What now? Is it
(33:14):
or isn't it truth?
Speaker 4 (33:15):
Jamie? You and me, we never were really form.
Speaker 1 (33:19):
I asked you to wait for me, and you promised
that you would because you were going away. Now, let's
get this straight. You mean you you mean you are
throwing me over for you said? Why didn't we just
all sit down and talk and tell us? No, you're
you're you aren't going to walk out on me now
never just a minute. Now that I know you, you're
(33:41):
slick and smart and smooth talking. And you hang around
while a guy is off doing something important. Well, Parley's
fighting for his country and you take advantage. That's not
the way it happened at all. Why don't we talk
about this? All right? All right, buddy, Now look I
don't know who you are, but this is your lucky night.
Now you won't get hurt, provided you just provided you
(34:04):
just walk out of here fast. Look. I know how
you feel, but she doesn't love you. She's been in
love with me since we're both ten years old. Now
you tell him, Julia, Jamie, listen, but don't you see
what she's trying to tell you. She doesn't love you, Judi,
you can't tell me that. He is not going to
have you.
Speaker 4 (34:23):
Now, Jamie down, please put pistol.
Speaker 1 (34:27):
No, he won't have you you.
Speaker 4 (34:29):
Please don't kill him?
Speaker 1 (34:30):
Why not?
Speaker 4 (34:31):
Please?
Speaker 1 (34:31):
Who deserves killing you?
Speaker 4 (34:32):
Jamie?
Speaker 1 (34:33):
What do you think kept me alive while those months
in the hospital, thinking to you, dreaming of you, picturing
held with people? Well when I got back home, Well
I am home now, and I know what I'm gonna do.
I won't let you get away from him.
Speaker 4 (34:44):
No, listen, listen.
Speaker 1 (34:46):
Ain't that just your style? Huh? Hiding behind a woman's skirts.
I don't have to hide anywhere. I can't come. I'm
gonna kill you.
Speaker 4 (34:57):
Topic both of you.
Speaker 2 (34:58):
Stop God I.
Speaker 4 (35:05):
Jamie.
Speaker 1 (35:06):
Oh oh is it, Julie? Oh it is.
Speaker 4 (35:12):
He's He's dead.
Speaker 1 (35:20):
I didn't mean to you saw that I didn't want
Who who are you? Eric? I'm Eric?
Speaker 4 (35:35):
Who are you.
Speaker 1 (35:39):
Eric? The man who loves you?
Speaker 5 (35:42):
Oh? Yeah, I need someone to love me.
Speaker 4 (35:49):
I need someone to love me.
Speaker 5 (35:50):
Now. Oh, now that Jamie's gone, what can we do
about Jamie?
Speaker 1 (35:59):
There's only one thing I can can do. Give myself up. No,
in present, I have to pay for Jamie. I turned
myself in.
Speaker 4 (36:06):
No, Eric, don't leave me. Don't leave me.
Speaker 1 (36:09):
I have to do it.
Speaker 4 (36:10):
Don't leave me.
Speaker 1 (36:11):
Wait, wait for me, Julia, will you wait for me?
I'm looking for the sheriff now, Eric, boy, you sheriff?
Where's the sheriff? I killed the man who didn't kill anybody? Eric?
Where am i? Eric? Eric? Did drink this? And now?
(36:33):
What has gotten into you? I killed the man? What
are you saying?
Speaker 4 (36:36):
Oh?
Speaker 1 (36:37):
His name is Jamie, Jamie Parsons. We were having a
fight over this girl. I told you about Julia Sandford. Eric,
you have got to listen now. Jamie Parsons was killed
way back in nineteen twenty or thereabout. No, Please listen, Eric,
don't tell me I'm crazy. Eric. Look, we found you
(36:58):
wandering around on the I was looking for the sheriff, Eric,
And now way back after the First War, Jamie Parsons
came home. Now he was sweet on Julius Sandford. Now
he was also crazy. Maybe it was what they call
uh shell shock in those days. But anyway, he tried
to kill her and somehow the gun went off and
(37:19):
killed him.
Speaker 4 (37:20):
No, No, I wasn't there.
Speaker 1 (37:22):
I don't know.
Speaker 7 (37:23):
No.
Speaker 1 (37:23):
Now it was too much for Juliet. After her father died,
she shut herself up all alone, that big house. It
just went to room. You know, she kind of uh
lost her marble. You're talking about someone else, her dad,
Big Jim with my godfather. And so we go over
there regular now we bring her food and or see
(37:46):
that she's still alive. Let me show.
Speaker 3 (37:49):
You, No, Eric, I think the time has come for
us to show you.
Speaker 1 (38:01):
No, this can't be the place. The lawns, the guns flowers,
was was like a park, Eric, this is the Sanford place.
The house. It's falling aparts now you can see it.
Speaker 4 (38:15):
But it was so beautiful just yesterday.
Speaker 1 (38:18):
Eric, not yesterday fifty years ago.
Speaker 3 (38:22):
When I tell you all, Eric, dear, when we meet her, smile,
she gets very upsetting if people don't smile.
Speaker 1 (38:33):
Yeah. The bell, the doorbell, it's the same.
Speaker 4 (38:37):
Oh who is it born in?
Speaker 1 (38:40):
Miss Judy? Who? Who are you? It's Jerry, you remember
me and miss Judy. I'm Jerry Oscar carolways boy.
Speaker 4 (38:49):
Oh Jerry, how how was her die?
Speaker 1 (38:53):
Why? Just find miss Judy? Just fine?
Speaker 4 (38:55):
My dad is still in Washington.
Speaker 1 (38:57):
Huh.
Speaker 4 (38:58):
I expect in the home at anytime. Well, the president
keeps him the oh come in, come, here.
Speaker 1 (39:10):
Me a phonograph. Martha's here too.
Speaker 4 (39:15):
Well, I am so glad. How are you Martha?
Speaker 5 (39:18):
Just find miss Julia.
Speaker 4 (39:20):
And if we brought a guest.
Speaker 5 (39:22):
Oh, you know, I don't like to meet strangers.
Speaker 4 (39:26):
Less I have a chance to dress up for as Martha.
You should have told me.
Speaker 1 (39:30):
But he's not a stranger now he's Kin. That's Martha's
baby brother.
Speaker 4 (39:34):
Oh, well that's different. His name is Eric. Well, how
do you do Eric?
Speaker 1 (39:41):
Huh do you do? Missus? Julia Amy Amy?
Speaker 5 (39:47):
Please bring a bit of lemonade and fall grass.
Speaker 1 (39:51):
Eric.
Speaker 4 (39:52):
Amy's been dead for fifty years, Eric, Eric, Eric, Now
I knew what Eric wants. A sweet boy was.
Speaker 1 (40:01):
Home from the war, Jamie.
Speaker 5 (40:04):
Oh no, no, no, name was Eric who We were
in love, so much in love?
Speaker 4 (40:12):
He didn't stay long?
Speaker 1 (40:14):
You all right, Miss Julia, I mean, is there anything
you need?
Speaker 4 (40:17):
He wrote down a poem for me. I look at
it every day, every day.
Speaker 1 (40:27):
Read it.
Speaker 4 (40:29):
Read it Eric, it is so beautiful.
Speaker 5 (40:33):
Be careful that paper's old and falling apart.
Speaker 4 (40:38):
Just like me and the Inca's fated.
Speaker 1 (40:42):
Hi?
Speaker 4 (40:43):
Can you read it?
Speaker 1 (40:46):
From too much love of living, from hope and fear
set free, we think, with brief thanksgiving, whatever God's there be,
no life lives forever, the dead men rise up, never
(41:08):
that even the weariest river wine somewhere safe to see.
Speaker 2 (41:15):
See la vida esueno. Life is a dream, as the
Spanish poet said, And even dreams are dreams. In that case,
(41:36):
when are we dreaming? When are we awake? If we
can't tell for sure who we are, how can we
possibly know who we were? But whether here or in
a dream, I at least shall be back shortly well
(42:03):
to complete our expedition into poetry. The greatest port of
the mall said. All the world's a stage, and all
of us are players. And so this raises the logical
question are we a permanent cast? Do we keep coming
back to play the roles for which we are best suited?
Speaker 1 (42:26):
Have we led these lives? Before.
Speaker 2 (42:29):
Well, you just listened to us again and for an hour. Anyhow,
you'll be able to lead a brand new life. Our
cast included Tony Roberts, Briana Raeburn, Marion Zeldis and Earl Hammond.
The entire production was under the direction of Hyman Brown.
This is E. G. Marshall inviting you to return to
our Mystery Theater for another adventure in the macabre. Until
(42:54):
next time, Pleasant Dreams, fifty
Speaker 1 (43:26):
B.
Mystery theater.
Speaker 2 (00:18):
Come in welcome.
Speaker 1 (00:22):
I'm E. G.
Speaker 2 (00:23):
Marshall, practitioner of the seventh oldest professional storyteller, spinner of tales,
weaver of dreams, especially those that are dark and foreboding.
An ancient poet wrote, forgetfulness, sweet and blessed. Forgetfulness is
(00:46):
the most precious gift of the immortal gods. For the
innocent to forget, and for the guilty to be forgotten
is to receive, finally, the benediction of m.
Speaker 1 (01:00):
Easier, the sweetest spirit of all.
Speaker 2 (01:03):
For amnesia sits patiently beside the never ending stream of time,
bestowing her largess on the innocent and the guilty.
Speaker 1 (01:13):
I like, Jerry, Jerry, Eric, what's wrong? I'm in trouble.
What kind of trouble? I'm scared? Scared steff. No, whatever
it is, kid, I'll stand by you. Now. What did
you do? I killed a man, all right, kidd? Now?
(01:34):
Who was it? Man named Jamie Parsons? Who they said
his name is Jamie Parsons. Eric, How could you kill
Jamie Parsons? I did? I did? I shot him ten
minutes ago. No, kid, you deadn't now? How could you?
(01:57):
Jamie Parsons has been dead for fifty year.
Speaker 2 (02:09):
Our mystery drama A Bride for Death, was written especially
for the Mystery Theater by Sam Dan and stars Tony Roberts.
We are still a young and boisterous country, filled with
(02:32):
optimism and high spirits, at least we like to think
we are, and we endorse positive thinking.
Speaker 1 (02:39):
We're convinced that the pot of gold lies at the
end of.
Speaker 2 (02:43):
The rainbow, and that sterling silver lines every cloud, and
so our language has no word to match one that
is so familiar to the Germans Veltschmertz, which means a
melancholy weariness with the futility of life. Which is not
to say that we don't encounter it here and there.
(03:04):
We do, but it's not really what you could consider
a mainstream of fliction.
Speaker 1 (03:10):
Well, good morning, Martha.
Speaker 3 (03:12):
I'm just taking your pancakes off the griddle.
Speaker 1 (03:14):
Well, that's life. You know what life is timing? Now
you be there at that exact split second.
Speaker 4 (03:19):
That's enough, Jerry.
Speaker 3 (03:21):
Two philosophers in this house at one time is.
Speaker 1 (03:24):
More than I can put up with. Shakespeare down in
And don't call him Shakespeare, why not, he's poet? Ain't
he here?
Speaker 3 (03:30):
Feed your face and give us a rest.
Speaker 1 (03:32):
Okay, okay, you tell me. Now, here's a boy twenty
five years old. He's been to college, means he's got brains.
He's good looking, means he's got no problem with women. Cherry,
I'm worried about Eric. Worried Bryan out loud? What's his problem?
Speaker 4 (03:50):
I don't know.
Speaker 1 (03:52):
Doesn't help that he can come run into his big
sister anytime he needs.
Speaker 4 (03:56):
Just that, I don't know.
Speaker 1 (03:57):
He feels rejected, rejected. Why that boy is welcome wherever
he goes.
Speaker 3 (04:02):
No, Jerry, he's actually being rejected by the editors. He
sends his poetry into a magazine and back it comes
with a rejection slip.
Speaker 1 (04:12):
Hell, I read some of those poems, and well I
couldn't make it a dail out. Oh what do you know? Well,
I know what I like. You know what he ought
to do? He should get a job.
Speaker 4 (04:26):
He's trying to find himself.
Speaker 1 (04:28):
Oh I pass morning.
Speaker 3 (04:31):
Oh Eric, you're just in time for breakfast.
Speaker 1 (04:33):
I only wants some coffee. You can tell him this
is a city boy, Eric, you.
Speaker 3 (04:37):
Really are to have a good breakfast. Sugar and fresh cream.
Speaker 1 (04:41):
Eric, I'll take a black. I've got this headache. Oh,
you better see a doctor on it. He doesn't need
a doctor. He needs to have a good time, a raid,
a little hell. And once you come with us, Eric,
get into the dance at the Grange Hall to night,
put your arm around a pretty girl. The whole world
is different. I wish the whole world could be different.
You just can't get serious at this hour in the morning.
(05:06):
Eh he going out for a ride. Saddle up, duke
or admiral and you just look at that sky and
you just breathe that air and enjoy that sun. And uh,
you know how you feel. I remember that poem you
once recited when you were a kid, and you'll say
it again. God's and here's heaven and all right with
the world. I wondered lonely as a clouds that floats
(05:39):
on high or too holy, Holy boy, I can't be.
Can't be some miarage. Stay here to because plenty nice grass.
Have you lunch. I have to find out about this.
(06:03):
It's incredible out here, this type of architecture out here.
Speaker 4 (06:11):
Jamie, Jamie Darling. I knew you'd come up.
Speaker 1 (06:15):
Oh, I'm sorry, I'm not Jamie. I see her.
Speaker 5 (06:20):
I've been waiting for Jamie to come back from the war.
Speaker 4 (06:24):
The war, Yes, the war, and now I know. Now
I know who you are?
Speaker 1 (06:31):
Well who am I? You are?
Speaker 5 (06:34):
You are Jamie's best friend is Buddy and the phithen
Jamie fell, and he died in your arms.
Speaker 4 (06:39):
And with his dying breath.
Speaker 5 (06:41):
He made you swear to come and tell me I'm
the only one he ever loved.
Speaker 4 (06:46):
To finished crying for Jamie. You and I will fall
in love.
Speaker 1 (06:52):
I almost wish that were true, but that's not what happened.
I was just riding by and I was struck by
the look at the house.
Speaker 4 (07:00):
Were you?
Speaker 1 (07:01):
It's fantastic. It's ornate, Late Victorian architecture is so perfectly preserved.
You like it, it's fascinating.
Speaker 5 (07:11):
Well, I think it's just too much gingerbread. Granddad built it.
I've never seen you around here.
Speaker 1 (07:20):
I'm visiting. Jerry Carroway's my brother in law.
Speaker 4 (07:23):
You can't mean Jerry. You mean Oscar.
Speaker 5 (07:25):
No, Oscar Carroway owns the farm over on Stillwell Creek.
Speaker 1 (07:29):
I think that's what they call it.
Speaker 5 (07:31):
Well, that's Oscar. Jerry can't be anybody's brother in law.
Speaker 4 (07:36):
He's hardly a year old.
Speaker 1 (07:39):
Well, I suppose we're talking about two different people.
Speaker 5 (07:42):
Now, if you came to the caraways, I am going
to invite you to come inside and have a nice,
cool glass of lemonade.
Speaker 1 (07:49):
Oh thank you.
Speaker 5 (07:53):
Come on into the parlor and we'll sit. I don't
know what's the matter with me. My name is Dewey Sandford.
Speaker 1 (08:01):
And I'm Eric Mills. I can't get over this. What
the way this place is furnished, and that phonograph.
Speaker 5 (08:12):
Oh yes, everything is the latest from all the way
over to Omaha.
Speaker 1 (08:17):
Everything is so authentic. And I think the telephone is
a great final touch.
Speaker 4 (08:22):
Well it's just an all day old telephone.
Speaker 1 (08:24):
Old, is right. Well, that's practically an antique. They used
to have those about the nineteen twenties. I've seen them
in the movies.
Speaker 4 (08:32):
Do you like movies?
Speaker 1 (08:34):
Well, some of them.
Speaker 4 (08:34):
What's your favorite?
Speaker 1 (08:36):
Well, I have my own taste. I mean my favorite
movie happens to be I don't laugh. Birth of the
Nation sort at a retrospective in the museum.
Speaker 4 (08:48):
We saw that. And down at the Biju.
Speaker 1 (08:50):
Do you have a theater that shows old pictures.
Speaker 4 (08:52):
Little pictures, new pictures, any kind.
Speaker 1 (08:55):
Everything here is so so what that one word It
just covers everything authentic, even your dress Oh, this is
just a silly old you know. Nowadays there's no style,
there no set style. The girls dress any which way,
but yours is definitely nineteen twenty ish.
Speaker 4 (09:17):
Well, I should hope.
Speaker 5 (09:18):
So Dad's taking me shop in Omaha soon as you
get back from Washington.
Speaker 4 (09:22):
Oh do you like politics?
Speaker 1 (09:25):
No? No, definitely not.
Speaker 5 (09:26):
Oh don't you ever say that in front of Dad.
Speaker 4 (09:30):
I told you.
Speaker 5 (09:30):
Dad's in Washington visiting with President Wilson.
Speaker 1 (09:33):
But Wilson isn't the president.
Speaker 4 (09:35):
Oh that's right, he isn't.
Speaker 5 (09:38):
I can't get used to the idea that new one.
Mister Harden, missus Warren. The meal hard and there's a
mouthful for you.
Speaker 4 (09:47):
But Dad was against him at the convention.
Speaker 1 (09:50):
The way you talk, I almost believe you.
Speaker 5 (09:53):
Why you can read it in the newspapers. Dad is
an important man. He's going to run for governor. You
just asked, mister Carroll, if that's not so?
Speaker 1 (10:01):
No, no, no, what I mean.
Speaker 4 (10:04):
Didn't sound like bragging on my part.
Speaker 1 (10:06):
Everything is so you don't believe.
Speaker 4 (10:10):
You don't believe a word I say.
Speaker 5 (10:13):
All right now here, now just read it for yourself
in yesterday's paper.
Speaker 4 (10:18):
Now, what does that headline say?
Speaker 1 (10:20):
This is The Rocky Mountain Advocate and Messenger, July eighteenth,
nineteen twenty one. Even the newspaper, it's so carefully preserved, preserved.
Speaker 5 (10:34):
I would anyone want to preserve a copy of the
silly old adness?
Speaker 4 (10:37):
You always get a fresh one the next day.
Speaker 1 (10:40):
If only this period had never passed away.
Speaker 5 (10:44):
You know, I don't understand half the things you say,
but I love to listen.
Speaker 1 (10:50):
Do you suppose that I could call on you again? Oh? Well,
I understand. There's a dance at the Grange Hall. How
would you like to go? I'd love it great, I'll
pick you up it.
Speaker 5 (11:06):
Oh no, I I better not.
Speaker 1 (11:09):
Why Jamie, Jamie, we we're engaged, and it wouldn't be
right for me to go to a dance with another man.
But Jamie's been missing.
Speaker 5 (11:21):
In action, you say, and yes, and everybody says he's dead.
Speaker 1 (11:26):
I'm sorry.
Speaker 5 (11:26):
And if I went to a dance with someone else,
it would be my way of saying to the world
that I thought he was dead too. And I don't
want to say that.
Speaker 4 (11:38):
I just don't want to say that, Julie.
Speaker 1 (11:40):
I don't think people would say that we.
Speaker 5 (11:42):
Better not stay here any longer, Junior. If I say,
any please go, I must ask you to leave. But Julia, please.
Speaker 4 (11:56):
Supper and a high hour.
Speaker 1 (11:57):
Jerry, mm mm that smells great. Now whatever do you
put in your student?
Speaker 4 (12:03):
Cooking is my business.
Speaker 1 (12:05):
I have to hand it to you. Mark. It's a
miracle business. I ever deadly has done wonders for Eric.
He's chopping wood, he's humming a tune. Eric, happy as
a jay bird?
Speaker 4 (12:17):
What's got into him?
Speaker 1 (12:18):
You're cooking? Now? What else? Hell? Folks, how's not happy?
To the homestead?
Speaker 4 (12:25):
Eric Darling? Are you all right?
Speaker 1 (12:27):
No? I'm not all right. I'm magnificent, spectacular?
Speaker 4 (12:30):
What's gotten into you?
Speaker 1 (12:32):
The friends say, share she la fan, Oh you'll be quiet?
Oh he's right?
Speaker 4 (12:37):
Oh who is she?
Speaker 1 (12:39):
Well? Thet maybe one or two little complications there, but
there's nothing I can't handle. Why didn't you tell me?
Tell you what? Tell me? You had a museum? Here?
Museum out? Eric's a wild place and it's a jim
It's authentic to the tiniest detail.
Speaker 3 (12:55):
Eric, Please tell us what you're talking?
Speaker 1 (12:57):
Dedicated to the nineteen twenties? What is this museum? All right? There?
In any museum? Yes, yes, there is where? Oh come
on now, quit pretending. She works there. I suppose she's
the curator. Who her name is, Julia? Julia? Oh you'd
know who she is, Jerry, because she has to be
(13:17):
the prettiest girl in term. Eric, this museum just tell
us where it is, got us down the road from here.
It can't be one two miles has the most beautiful
garden and lawn, and the house is a perfect example
of Lake Victorian. I think it's called the Sandford House.
It's the most beautifully kept. What are you looking at
(13:39):
me like that?
Speaker 4 (13:40):
For?
Speaker 1 (13:41):
Eric?
Speaker 3 (13:42):
The Sandford House is an old ruin.
Speaker 4 (13:45):
It's falling apart.
Speaker 3 (13:46):
But I was, and it's so overgrown that if you
didn't know it was there, you couldn't even see it
from the road.
Speaker 1 (13:52):
No, I was just inside and it was Eric. Are
you sure that you I was? I was inside the
most beautiful laddie. You think you'd better see a doctor, Erica,
But I was. Eric.
Speaker 3 (14:10):
Do you want us to ride back there with you
and prove it?
Speaker 1 (14:14):
Are you saying that the girl, the house, that the
was all a dream? But I wasn't dreaming. I know
I wasn't dreaming, and.
Speaker 2 (14:28):
He wasn't because we were there too. Unless it's possible
that we were dreaming. Also, well, every young man should
have a wonderful girl of his dreams, and it's just
fine if that's where she stays.
Speaker 1 (14:46):
It's when she materializes that you can run into a problem.
Speaker 2 (14:51):
I shall materialize again shortly with that too. What happens
to the past? Or put it this way, what is
the past? Is it a record or an impression? Does
(15:16):
it exist only as a rapidly receding and fading memory,
or does it maintain a solidity and a substance. Who
has not remarked at least once? Where has the time gone?
Does this mean we really believe that time goes somewhere?
If so, where Eric Mills is convinced he has found
(15:40):
the answer.
Speaker 1 (15:41):
I know I wasn't dreaming.
Speaker 4 (15:44):
Maybe you were, Eric.
Speaker 1 (15:45):
Everything was surreal.
Speaker 3 (15:47):
All this is coming out of your head. It's your fantasy.
Speaker 1 (15:50):
But everything was so I keep saying the word authentic.
She even knew your father's name, Jerry Oscar. It's like
Martha says, Eric, this is what you know. I never
knew your father's name was Oscar.
Speaker 3 (16:04):
Of course you did not consciously, perhaps, but I.
Speaker 1 (16:07):
Can swear I saw Eric. Yet now you did see it.
Now you wanted to see it. You know what I mean.
I mean, for some reason you you got a notion
that life was better in the twenties.
Speaker 3 (16:18):
Wait a minute, nineteen twenty.
Speaker 4 (16:23):
Remember Eric, do you remember.
Speaker 1 (16:24):
Remember what the bottlesby tavern and inn? No?
Speaker 3 (16:28):
No, oh, you do you do up in Connecticut? Mom
and Dad took us there every summer? What does this
have to there was that poem printed on the wall?
Speaker 1 (16:37):
What poem about the year.
Speaker 3 (16:39):
Nineteen twenty, the year the tavern was built?
Speaker 1 (16:43):
I don't remember anything about it.
Speaker 3 (16:44):
Sure, look you weren't even four years old, and I
recited the poem and you were able to memorize it
just from hearing me read it once.
Speaker 4 (16:54):
Mom thought you were a genius.
Speaker 1 (16:55):
I don't know what you're talking about, Marca.
Speaker 4 (16:57):
Listen.
Speaker 3 (16:58):
Uh see now I was built in nineteen twenty in
a time of peace, as a place of plenty.
Speaker 4 (17:08):
Let no care or trouble enter.
Speaker 3 (17:12):
Oh, finish it for me, Eric.
Speaker 1 (17:15):
For love and joy are at my center.
Speaker 4 (17:18):
You see?
Speaker 1 (17:19):
Or what does that prove? I mean that I could
that I could make up a whole thing about being
back in the twenties. You could do anything, Jerry. What
I mean is with his imagination anything is possible, he say.
Speaker 3 (17:30):
And you've talked about the twenties, or maybe I had
as a.
Speaker 1 (17:33):
Writer, as a poet.
Speaker 3 (17:35):
Would you have rather lived then or now?
Speaker 1 (17:39):
What kind of question is that he'd be dead now
if he lived back?
Speaker 3 (17:42):
He knows what kind of question it is, whatever.
Speaker 1 (17:45):
You say, I know where I was this morning.
Speaker 3 (17:48):
Yes, Jerry, where you always wanted to be back in
the twenties, when it was easier to be a poet.
Speaker 1 (17:55):
Martha, everything is relative to when you were alive.
Speaker 3 (17:58):
But you'd rather have been alive when Hemingway was young,
with Fitzgerald. You'd want to be in Paris with Gertrude
Stein and Picasso. You feel that people like them would
be more more apt to notice you're worse than the
people of today.
Speaker 1 (18:12):
Oh what if that's true?
Speaker 4 (18:14):
What if it's true?
Speaker 1 (18:15):
Yeah? Sure, I mean the twenties were a more exciting
time to be alive. But does that mean that I
could just conjure them up? It's real? I knew it
(18:38):
was real.
Speaker 5 (18:52):
Oh, Julia, Oh now I said I could not go
to that.
Speaker 1 (18:56):
Don May I come in? Well just for a little while,
all right, But just a little while, Julia. I had
to come back to.
Speaker 4 (19:10):
You I mack, If you're going to start that kind
of talk, I'll have to ask you to leave right now.
Speaker 5 (19:15):
After all, after after all, I am an engaged girl.
Speaker 4 (19:22):
Oh listen, isn't that a swell number? I promised Dad
I wouldn't use that word? What word swell? Dad hates slang?
Speaker 1 (19:33):
Julia? May I ask you a question? What year is this?
Speaker 4 (19:40):
Kind of a question? Is that?
Speaker 1 (19:42):
Please? Julia?
Speaker 4 (19:43):
Only this morning you saw the paper?
Speaker 1 (19:45):
What year is it?
Speaker 4 (19:47):
Is there a reason why you wouldn't know?
Speaker 1 (19:49):
Could you tell me?
Speaker 4 (19:51):
It is July nineteenth, nineteen twenty one?
Speaker 1 (19:55):
You sure of that?
Speaker 4 (19:57):
Honestly? Eric?
Speaker 1 (20:00):
What's that? What's what? Don't you hear it?
Speaker 4 (20:06):
Oh? I here's the train?
Speaker 1 (20:08):
That's what I mean? The train. There hasn't been a
train here?
Speaker 5 (20:12):
And what I used to say, miss the ODP ODP,
the Omaha, Denver and Pacific?
Speaker 4 (20:19):
Silly, everybody knows. Are you sure you're all right?
Speaker 1 (20:25):
Yes? Yes, I'm sure you know.
Speaker 5 (20:28):
This afternoon, I promise you a glass of lemonade.
Speaker 4 (20:32):
I think you could use some refreshment.
Speaker 1 (20:34):
Now, excuse me, I heard it, I know I heard it.
Speaker 6 (20:41):
Wait a minute, hello, hello, uh information Please?
Speaker 4 (20:52):
I can give you any information you want.
Speaker 1 (20:54):
Do what you have a number for mister Jerry Carroway,
Jerry Carroll.
Speaker 4 (21:00):
Well, I no, Oscar sparles that child something fierce.
Speaker 3 (21:03):
But ain't about kiviiro baby phone number of his own?
Speaker 4 (21:07):
Do you want Oscar's number?
Speaker 5 (21:10):
Uh?
Speaker 1 (21:11):
What's the number of the movie theater in town?
Speaker 7 (21:14):
Oh?
Speaker 4 (21:14):
Why do you want to know?
Speaker 1 (21:16):
I want to find out what's playing?
Speaker 4 (21:18):
Well, I ask me, I should know.
Speaker 3 (21:20):
There's a picture called Intolerance with just a green No, No,
what do you mean?
Speaker 4 (21:27):
No, I'm telling you what's playing at the movie.
Speaker 1 (21:30):
I mean, I mean it's wonderful, that's what I heard.
Speaker 3 (21:34):
But a lot of folks say it's a little too serious.
Now over a council, folks, they got a funny comedy
with at firty obu, No, he is.
Speaker 1 (21:41):
A scream thank you, thank you very much?
Speaker 4 (21:45):
Anything else here you want to know?
Speaker 1 (21:48):
Parmise you won't lie.
Speaker 4 (21:50):
If it's funny. I can't promise.
Speaker 1 (21:52):
What a year is this?
Speaker 6 (21:55):
You're a card?
Speaker 1 (21:56):
All right? What year is it?
Speaker 7 (22:00):
On one?
Speaker 4 (22:01):
Everybody knows that.
Speaker 1 (22:03):
Thank you, thank you? Nineteen twenty one?
Speaker 4 (22:09):
And here we have some of Amy's famous lemonade. Yet good.
Speaker 5 (22:19):
I never knew if the boys were coming over for
me for the lemonade.
Speaker 1 (22:24):
Julia, Julia, what is it? I'm so happy?
Speaker 4 (22:32):
Oh now just excuse me, hello, Julia, Oh what is it? Gordean? Julia?
Speaker 5 (22:40):
Are you all right? Sure?
Speaker 4 (22:42):
Who? Well? Some man plays a call from your home
just before Yes.
Speaker 3 (22:47):
And he's sounded just a kind of bit peculiar to me.
Speaker 4 (22:50):
Gorgee. I'm just wondering should I call here? Sometimes? You
are so silly? Will be it be silly? And sorry?
Good night?
Speaker 7 (23:02):
Eric?
Speaker 5 (23:02):
What did you say to scare Courgeen Cordeen, the telephone operator?
Speaker 1 (23:09):
I admit I sounded crazy?
Speaker 4 (23:11):
What did you say?
Speaker 1 (23:12):
I asked her what year it was?
Speaker 4 (23:15):
So? Why do you have to keep asking? Don't you know?
Speaker 1 (23:18):
Julia? I could never explain it, and you could never understand.
Then why Bob? I want to stay here? Julia? Here here? Well?
Speaker 4 (23:29):
How would it look?
Speaker 1 (23:31):
Well? We could get married?
Speaker 3 (23:33):
You what.
Speaker 4 (23:35):
There's Jamie?
Speaker 1 (23:37):
World War one has been over for three years? Now?
Speaker 4 (23:42):
What'd you call it world War one?
Speaker 1 (23:44):
If you haven't found him in those.
Speaker 4 (23:46):
Three why did you call it world War one?
Speaker 1 (23:49):
He has got to be dead.
Speaker 4 (23:51):
Why did you call it world War one?
Speaker 1 (23:55):
Because in twenty years there's going to be World War Whooo?
Speaker 4 (24:05):
Youre joke. Listen, there can't be any more wars after
all we went through. Well people, aren't that stupid?
Speaker 1 (24:14):
Do you believe that?
Speaker 4 (24:15):
So what else can you believe?
Speaker 1 (24:17):
Julia? You have got to tell me. Do you love Jamie?
Speaker 4 (24:22):
Well? What business is that of yours?
Speaker 1 (24:26):
I have to know.
Speaker 5 (24:29):
We kept company for a while and when he left
for France he asked me to wait for him.
Speaker 4 (24:35):
And could I could?
Speaker 1 (24:38):
I say, no, Are you in love with him?
Speaker 4 (24:41):
Oh? I don't know.
Speaker 1 (24:43):
Are you in love with him? Well? No, but I
promise you can't make that kind of promise. You can't
give him what you don't have, and what you don't
have for him is love.
Speaker 4 (24:57):
Well, how do you know?
Speaker 1 (24:59):
Because you love me? Well? Makes you think that you
love me? Julia? You have to love me?
Speaker 4 (25:07):
Why?
Speaker 1 (25:08):
Because it's right? Because it makes sense. It simply has
got to be. Oh, Eric, don't waste time, Julia. There
is so little time. People don't realize how little time
they really have. Come on for a walk, but there's
no place to go. Oh, yes there is. We'll go to town.
Speaker 4 (25:27):
Well there's nothing doing it?
Speaker 7 (25:28):
Yes, yes, I'll show you.
Speaker 4 (25:39):
You are having so much trouble with.
Speaker 1 (25:41):
Dad's old I can't get used to the way these
gears shift.
Speaker 4 (25:47):
Well, here we all it's beautiful. Well, nothing ever happens here.
Speaker 5 (25:54):
There's the drug store and the hay and feed stone
and the room picture house, and they just took the
sidewalks in for the night. There's a local joker. Oh
on the train, let's stop at the station. Well, if
somebody flags it down.
Speaker 1 (26:15):
What's the matter?
Speaker 4 (26:16):
Oh, that's old to Haskins.
Speaker 5 (26:17):
I don't wanted to see me out with a fellow
be all over town. Take me home, Marrik, Eric, he's darling.
I think you better go, Yo, it's late.
Speaker 1 (26:41):
No, not just sit by me for a while. Why
am I thinking of a certain poem? I don't know.
Why do I see the words from too much love
of living, from fear and hope, set free, think with
brief thanksgiving whatever gods there be, that no life lives forever,
(27:09):
that dead men rise up, never that even the weariest
river winds somewhere safe to see. Oh I like that.
Speaker 5 (27:23):
I believe it, that no life lives forever, that dead
men rise up.
Speaker 1 (27:31):
Never that even the weariest river.
Speaker 4 (27:36):
Winds somewhere safe to see. Would you write that down
for me?
Speaker 1 (27:41):
Eric?
Speaker 5 (27:42):
Of course, Darling, paper and a pencil.
Speaker 1 (27:46):
That no life lives forever.
Speaker 5 (27:53):
Eric, I know now, I know in my heart that
Jamie is Jamie is dead, and I'm glad.
Speaker 4 (28:07):
I shouldn't have said that.
Speaker 5 (28:09):
But you see now, I know that our love, which
is so sweet to us, will cause no one else.
Speaker 1 (28:15):
Pain, and even the weariest river winds somewhere safe to
see here.
Speaker 5 (28:26):
Oh, Eric, this is the first gift you ever gave me.
Speaker 1 (28:32):
We're safe, We're safe here. It's just as I dreamed
it would be. Oh.
Speaker 4 (28:40):
Oh, that must be Dad calling from Washington. D C.
Speaker 5 (28:43):
Is probably gonna tell me about his meeting with the President.
Speaker 4 (28:45):
Well, I'll have more important news for her, And I
want you to say a load of Dan. Hello, Daddy, Daddy. Oh,
who is this Jamie?
Speaker 1 (29:02):
As to him, it's Jamee.
Speaker 2 (29:10):
And now among the beautiful sounds of this beautiful world,
we here introduced a new note, and we know very
well it must be a note of discord. And was
the poet right? Is it true that dead men rise up?
Speaker 1 (29:27):
Never?
Speaker 2 (29:28):
Where has Jamie come from?
Speaker 1 (29:30):
And where is he going?
Speaker 2 (29:32):
I shall have the answers when I returned shortly with
Act three, And suddenly it's nineteen twenty one. For Eric Mills,
(29:53):
who wasn't even born then. Nineteen twenty one, a year
of innocence and most important, peace, not just the absence
of war, but peace. And Eric Mills has somehow sought
it out as a refuge from the deceptions and the
dejections of the jet age. He has even found Julia,
(30:16):
but so has Jamie, Julia's dough boy fiance who evidently
didn't die at Chateau Terry.
Speaker 4 (30:24):
Jamie, they told me you were dead.
Speaker 1 (30:29):
They left me for dead. And for a long time
I didn't know who I was. And then I remembered.
I remembered you, and I've come.
Speaker 4 (30:37):
Home off the train, Jamie.
Speaker 1 (30:41):
I'm come home, Julia. I'm coming home to you. And
then I'll run from the station. I'll run all the way,
Jamie Waite, you remember the way, run all the way.
I can run even.
Speaker 4 (30:48):
Fast, Jamie. There is something I must tell.
Speaker 1 (30:50):
You, something I must tell you. I'll see you very soon.
Speaker 4 (30:56):
It's Jamie, and he's alive.
Speaker 1 (31:01):
Going You and I we love each other. But that
was before before what before I knew it was alive.
Our love has nothing to do with anyone else.
Speaker 4 (31:13):
Jamie still believes a lie. Oh don't say it that
way I was gonna say it.
Speaker 1 (31:19):
If you love me, then Jamie believes a lie.
Speaker 4 (31:22):
Eric, Please go quickly?
Speaker 1 (31:25):
Why before I get to No, I'm frightened.
Speaker 5 (31:29):
Don't be I'm frightened here, No, Darling, I'm frightened, not
for me, for you, Julia.
Speaker 1 (31:35):
There is nothing to be frightened of.
Speaker 4 (31:38):
Is you don't know him the way I do.
Speaker 1 (31:39):
It doesn't matter.
Speaker 4 (31:40):
He's got a violent temper.
Speaker 1 (31:42):
He'll be bad enough to kill you, and I'll have
something to say about that. Who says he can kill me?
Is it that if you kill him it's better for me?
Speaker 4 (31:51):
Eric, I don't want you to to to be hurt.
Speaker 1 (31:54):
What can I do? I won't give you up.
Speaker 4 (31:57):
I don't know what to do.
Speaker 1 (31:59):
I am Julia. You love me, I love you. We
have a right to be happy and Jamie. Sometimes there's
only one way to say something. The only way I
can say it is it's just too bad about Jamie.
Speaker 4 (32:15):
But I don't want us to hurt him.
Speaker 1 (32:16):
If Jamie is reasonable and sensible, why should anyone be hurt?
Speaker 4 (32:22):
Eric is here, he's here.
Speaker 1 (32:23):
Yes, I'm terribly frightened. Listen.
Speaker 4 (32:27):
Jamie is crazy.
Speaker 1 (32:29):
He's always been a little bit crazy, but now, Julie,
come back home.
Speaker 4 (32:35):
Jamie.
Speaker 1 (32:37):
Hello, Jamie, Hello, j Jamie is all you can say, Jamie?
Speaker 5 (32:45):
Who says Jamie Parsons, Eric Mills, he's a friend.
Speaker 1 (32:51):
Oh that's not exactly true. I am more than a friend, Julia,
and I plan to get married. You what you heard
what I said? And never mind never what you said?
I want to hear what Julius says. Well? Oh no,
is it true? Oh James, Jamie? What now? Is it
(33:14):
or isn't it truth?
Speaker 4 (33:15):
Jamie? You and me, we never were really form.
Speaker 1 (33:19):
I asked you to wait for me, and you promised
that you would because you were going away. Now, let's
get this straight. You mean you you mean you are
throwing me over for you said? Why didn't we just
all sit down and talk and tell us? No, you're
you're you aren't going to walk out on me now
never just a minute. Now that I know you, you're
(33:41):
slick and smart and smooth talking. And you hang around
while a guy is off doing something important. Well, Parley's
fighting for his country and you take advantage. That's not
the way it happened at all. Why don't we talk
about this? All right? All right, buddy, Now look I
don't know who you are, but this is your lucky night.
Now you won't get hurt, provided you just provided you
(34:04):
just walk out of here fast. Look. I know how
you feel, but she doesn't love you. She's been in
love with me since we're both ten years old. Now
you tell him, Julia, Jamie, listen, but don't you see
what she's trying to tell you. She doesn't love you, Judi,
you can't tell me that. He is not going to
have you.
Speaker 4 (34:23):
Now, Jamie down, please put pistol.
Speaker 1 (34:27):
No, he won't have you you.
Speaker 4 (34:29):
Please don't kill him?
Speaker 1 (34:30):
Why not?
Speaker 4 (34:31):
Please?
Speaker 1 (34:31):
Who deserves killing you?
Speaker 4 (34:32):
Jamie?
Speaker 1 (34:33):
What do you think kept me alive while those months
in the hospital, thinking to you, dreaming of you, picturing
held with people? Well when I got back home, Well
I am home now, and I know what I'm gonna do.
I won't let you get away from him.
Speaker 4 (34:44):
No, listen, listen.
Speaker 1 (34:46):
Ain't that just your style? Huh? Hiding behind a woman's skirts.
I don't have to hide anywhere. I can't come. I'm
gonna kill you.
Speaker 4 (34:57):
Topic both of you.
Speaker 2 (34:58):
Stop God I.
Speaker 4 (35:05):
Jamie.
Speaker 1 (35:06):
Oh oh is it, Julie? Oh it is.
Speaker 4 (35:12):
He's He's dead.
Speaker 1 (35:20):
I didn't mean to you saw that I didn't want
Who who are you? Eric? I'm Eric?
Speaker 4 (35:35):
Who are you.
Speaker 1 (35:39):
Eric? The man who loves you?
Speaker 5 (35:42):
Oh? Yeah, I need someone to love me.
Speaker 4 (35:49):
I need someone to love me.
Speaker 5 (35:50):
Now. Oh, now that Jamie's gone, what can we do
about Jamie?
Speaker 1 (35:59):
There's only one thing I can can do. Give myself up. No,
in present, I have to pay for Jamie. I turned
myself in.
Speaker 4 (36:06):
No, Eric, don't leave me. Don't leave me.
Speaker 1 (36:09):
I have to do it.
Speaker 4 (36:10):
Don't leave me.
Speaker 1 (36:11):
Wait, wait for me, Julia, will you wait for me?
I'm looking for the sheriff now, Eric, boy, you sheriff?
Where's the sheriff? I killed the man who didn't kill anybody? Eric?
Where am i? Eric? Eric? Did drink this? And now?
(36:33):
What has gotten into you? I killed the man? What
are you saying?
Speaker 4 (36:36):
Oh?
Speaker 1 (36:37):
His name is Jamie, Jamie Parsons. We were having a
fight over this girl. I told you about Julia Sandford. Eric,
you have got to listen now. Jamie Parsons was killed
way back in nineteen twenty or thereabout. No, Please listen, Eric,
don't tell me I'm crazy. Eric. Look, we found you
(36:58):
wandering around on the I was looking for the sheriff, Eric,
And now way back after the First War, Jamie Parsons
came home. Now he was sweet on Julius Sandford. Now
he was also crazy. Maybe it was what they call
uh shell shock in those days. But anyway, he tried
to kill her and somehow the gun went off and
(37:19):
killed him.
Speaker 4 (37:20):
No, No, I wasn't there.
Speaker 1 (37:22):
I don't know.
Speaker 7 (37:23):
No.
Speaker 1 (37:23):
Now it was too much for Juliet. After her father died,
she shut herself up all alone, that big house. It
just went to room. You know, she kind of uh
lost her marble. You're talking about someone else, her dad,
Big Jim with my godfather. And so we go over
there regular now we bring her food and or see
(37:46):
that she's still alive. Let me show.
Speaker 3 (37:49):
You, No, Eric, I think the time has come for
us to show you.
Speaker 1 (38:01):
No, this can't be the place. The lawns, the guns flowers,
was was like a park, Eric, this is the Sanford place.
The house. It's falling aparts now you can see it.
Speaker 4 (38:15):
But it was so beautiful just yesterday.
Speaker 1 (38:18):
Eric, not yesterday fifty years ago.
Speaker 3 (38:22):
When I tell you all, Eric, dear, when we meet her, smile,
she gets very upsetting if people don't smile.
Speaker 1 (38:33):
Yeah. The bell, the doorbell, it's the same.
Speaker 4 (38:37):
Oh who is it born in?
Speaker 1 (38:40):
Miss Judy? Who? Who are you? It's Jerry, you remember
me and miss Judy. I'm Jerry Oscar carolways boy.
Speaker 4 (38:49):
Oh Jerry, how how was her die?
Speaker 1 (38:53):
Why? Just find miss Judy? Just fine?
Speaker 4 (38:55):
My dad is still in Washington.
Speaker 1 (38:57):
Huh.
Speaker 4 (38:58):
I expect in the home at anytime. Well, the president
keeps him the oh come in, come, here.
Speaker 1 (39:10):
Me a phonograph. Martha's here too.
Speaker 4 (39:15):
Well, I am so glad. How are you Martha?
Speaker 5 (39:18):
Just find miss Julia.
Speaker 4 (39:20):
And if we brought a guest.
Speaker 5 (39:22):
Oh, you know, I don't like to meet strangers.
Speaker 4 (39:26):
Less I have a chance to dress up for as Martha.
You should have told me.
Speaker 1 (39:30):
But he's not a stranger now he's Kin. That's Martha's
baby brother.
Speaker 4 (39:34):
Oh, well that's different. His name is Eric. Well, how
do you do Eric?
Speaker 1 (39:41):
Huh do you do? Missus? Julia Amy Amy?
Speaker 5 (39:47):
Please bring a bit of lemonade and fall grass.
Speaker 1 (39:51):
Eric.
Speaker 4 (39:52):
Amy's been dead for fifty years, Eric, Eric, Eric, Now
I knew what Eric wants. A sweet boy was.
Speaker 1 (40:01):
Home from the war, Jamie.
Speaker 5 (40:04):
Oh no, no, no, name was Eric who We were
in love, so much in love?
Speaker 4 (40:12):
He didn't stay long?
Speaker 1 (40:14):
You all right, Miss Julia, I mean, is there anything
you need?
Speaker 4 (40:17):
He wrote down a poem for me. I look at
it every day, every day.
Speaker 1 (40:27):
Read it.
Speaker 4 (40:29):
Read it Eric, it is so beautiful.
Speaker 5 (40:33):
Be careful that paper's old and falling apart.
Speaker 4 (40:38):
Just like me and the Inca's fated.
Speaker 1 (40:42):
Hi?
Speaker 4 (40:43):
Can you read it?
Speaker 1 (40:46):
From too much love of living, from hope and fear
set free, we think, with brief thanksgiving, whatever God's there be,
no life lives forever, the dead men rise up, never
(41:08):
that even the weariest river wine somewhere safe to see.
Speaker 2 (41:15):
See la vida esueno. Life is a dream, as the
Spanish poet said, And even dreams are dreams. In that case,
(41:36):
when are we dreaming? When are we awake? If we
can't tell for sure who we are, how can we
possibly know who we were? But whether here or in
a dream, I at least shall be back shortly well
(42:03):
to complete our expedition into poetry. The greatest port of
the mall said. All the world's a stage, and all
of us are players. And so this raises the logical
question are we a permanent cast? Do we keep coming
back to play the roles for which we are best suited?
Speaker 1 (42:26):
Have we led these lives? Before.
Speaker 2 (42:29):
Well, you just listened to us again and for an hour. Anyhow,
you'll be able to lead a brand new life. Our
cast included Tony Roberts, Briana Raeburn, Marion Zeldis and Earl Hammond.
The entire production was under the direction of Hyman Brown.
This is E. G. Marshall inviting you to return to
our Mystery Theater for another adventure in the macabre. Until
(42:54):
next time, Pleasant Dreams, fifty
Speaker 1 (43:26):
B.
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