INTERVIEW — TAPE #36, SIDE #2
Q: Mark Russell Bell
H: Hugh Langtry, proprietor of The Yellow Aster Mercantile Co. in Hollywood
Q: By the way, continuing from the last side, regarding the second float that I saw when the TV came on all of a sudden after it had gone off, if I remember correctly it was the float by the Make-A-Wish Foundation and there were 1,000 wish letters that had been placed inside the float near the heart of the lion. (“UH-HUH”) I recently went to Crown Books and (“YEAH”) got the new (“WWW”) Zecariah Sitchin book entitled Divine Encounters: A Guide To Visions, Angels, And Other Emissaries. (“SSS”) On the back cover it says:
THE ULTIMATE HUMAN EXPERIENCE
The interaction between mankind and spiritual beings—of Divine Encounters—as recorded in scriptures and ancient texts provides a powerful drama that spans Heaven and Earth, involving worship and devotion, eternity and mortality, love and sex, jealousy and murder. But how much of these are based on real happenings and how much is based on myth? Q: Wow. (“UH-HUH”) So, anyway, I have a lot of reading to do. (“UH-HUH”) Do you know how in some books (“SSS”) there are portions (“EDITED”) edited out — censored portions? For example, Letters From The Earth, which was the uncensored writings by Mark Twain?
(TRANSCRIBER’S NOTE: MARK TWAIN’S “THE WAR PRAYER” ALSO REMAINED UNPUBLISHED WHILE HE WAS ALIVE. THE BACK COVER OF MY PAPERBACK EDITION OF THIS POEM OFFERS THE FOLLOWING FROM MARK TWAIN, A BIOGRAPHY BY ALBERT BIGELOW PAINE.) To Dan Beard, who dropped in to see him, Clemens read the “War Prayer,” stating that he had read it to his daughter Jean, and others, who had told him he must not print it, for it would be regarded as sacrilege.
“Still, you are going to publish it, are you not?”
Clemens, pacing up and down the room in his dressing-gown and slippers, shook his head.
“No,” he said, “I have told the whole truth in that, and only dead men can tell the truth in this world.
“It can be published after I am dead.” Q: Well, with my book, obviously, censoring isn’t something I would allow. (“WWW”) And, besides, (“SSS”) I think that book has already been written. The uncensored version of my book is available already. I bought a copy of it once when I went (“TTT”) to Jonathan’s apartment (“TTT”) and he wasn’t there yet. (“TTT”) So I walked down the street to the bookstore A Different Light. (“AND”) There was only one poetry book that was ‘on sale.’ (“LLL”) So I went ahead and bought it. (“UH-HUH”) When I got home I looked at the cover and there was a naked angel (“NO”) and a naked (“DDD”) man. (“UH-HUH”) On the cover. (“UH-HUH” “I”) I didn’t even look at that until I arrived at Jonathan’s home and then I thought it was funny. (“YEAH” “BUT”) This book, when I read it — or portions of it — I didn’t really read it from cover to cover. I just sort of skipped around. It’s like the uncensored writings (“SSS”) of Michael. Special Deliveries by James Broughton.
( . . . )
Q: I was putting that poetry book back and I noticed one of the books in my book case was strangely placed. (“DDD”) It is Beauty and the Beast: Diary of a Film — (“BY”) Jean Cocteau. And the page that’s (“SSS”) bent on the inside is right next to a still of Beauty in her bedroom in the Beast’s castle. Mmmmm. The still reminds me of Michael Jackson. This is a tell-all book about Hollywood in some ways. (“SSS” “SO”) Have you ever wondered why he wears that single glove? (“VVV”) Well, in this still Belle “is wearing the magic glove that transports her between the castle and her home.” And, of course, I don’t think the character’s name was Belle in this movie. I think her name was just Beauty. (“SO UM”) Anyway, I think that’s interesting. I wonder if Michael Jackson consciously had the idea for the single glove after watching this movie. (“NO”) Or if it was something subconscious. (“SSS” “SO UM”) I’m going to put the book back now (“WWW” “IN MY BOOK”) in my case of paperback books. (“SSS”) I also have a few hardbacks in this bookcase such as this book here — (“UM”) Sculpting in Time by Andrey Tarkovsky. To show you how really stupid the Academy of Motion Picture Arts and Sciences is, if you need any proof, his last film, “The Sacrifice,” wasn’t even nominated for Best Foreign Film and in recent years films like “Mediteranneo” have been winning. Any film that has anything to do with death (“THH”) or could be considered depressing in any way is shunned by the Academy. (“YEAH”) I remember going to a screening of the French film “Germinal” about coal miners. (“UH-HUH” “AND UM” “HALF OF IT”) It was a screening for Academy members only. It was several years ago and most of the audience walked out when the poor itinerant miner killed the rich child. (“PEO”) It’s like this is something they don’t want to deal with. (“UH-HUH”) A lot of the Academy is Jewish. I mean I can’t figure this all out. I’m sort of giving you my impressions. And they’re all old. (“UH-HUH”) Most of the Academy is very old. (“UH-HUH”) It’s interesting. (“UH-HUH” “I MEAN WITH”) If they don’t believe in Jesus (“SSS”) then there’s nothing to save them. (“AAA”) Anyway, they can always convert to the religion where love is the only religion. (“NO”) Okay? (“YEAH”) But, hmmm, “The Day of the Locust” was also a Paramount movie. (“YEAH”) By the way, it doesn’t bother me talking about Jewish people because I think I have Jewish ancestry. (“YEAH”) My family history consultant didn’t show up for her appointment so she obviously found something that either freaked her or I don’t know really, but when I realized (“DDD”) that Hanna King at Martin Lawrence Galleries was Jewish (“SHH”) and she had the name King, I realized that there’s a good chance that somewhere in my family tree there are Jewish people. So (“WWW” “I’M TRY”) I want to include an up-to-date as possible family tree in the book. I’d like to also have one of the Bells. (“SSS”) So we’ll see what happens. I still haven’t received anything (“YEAH”) from (“MMM”) Maxine. (“NNN”) She’s probably trying (“YEAH”) but (“UH-HUH” “I”) I think that — I hope not — but Twyla and Maxine may be a little disenchanted with me after telling them some of the things I’ve told them. (“BUT”) Plus — (“SSO”) you know. (“WWW”) There’s a lot more honesty in my book than they probably ever counted on. (“AHH” “SO”) It will be interesting to see what (“WHA”) happens in the editing stages. (“SSS”)
( . . . )
Q: I thought I would just say some of the titles of the books I have in my bookshelf. (“FFF”) Of Spirits and Apparitions, the Portmeirion edition, by Dr. John Dee. On the book binding it says “Whoso beareth this sign about him, all Spirits shall do him homage.” Oh, it’s a neat sign. I think I’ll use that on my Christmas cards next year.
(TRANSCRIBER’S NOTE: I NOTICE ANOTHER SIGN BELOW THE OTHER AND RECITE IT.)
Q: “Whoso beareth this sign about him let him fear no foe but fear God.” I like that sign too. They look like crop circles. (TRANSCRIBER’S NOTE: THIS VOLUME IS NUMBER 652 IN AN EDITION BOUND IN CLOTH AND JACKETED / LIMITED TO ONE THOUSAND COPIES / SIGNED FOR THE PUBLISHERS BY [FIRST NAME ILLEGIBLE] ROBERTSON, THE ANTOINE PUBLISHING CO., LTD.; AND BY SUSAN WILLIAMS-ELLIS, THE GOLDEN DRAGON PRESS, PORTMEIRION. THE FOLLOWING DESCRIPTION IS FROM THE BOOK’S JACKET.) Compiled almost 400 years ago, this book is one of the earliest actual accounts of magical research. It puts us uniquely in touch with attitudes typical of the best minds in Renaissance Europe — when Magic was still mixed with Science, Astrology with Astronomy, Alchemy with Chemistry and Natural Philosophy with Mathematical Physics. Previously little known—due to the scarcity and cost of copies—it is a fascinating classic of the Occult.
Elizabethan England’s leading Philosopher and Scholar, Dr. Dee records his efforts through the use of his Occult powers, to aid humanity by bringing peace and reconciliation to a Europe torn by war and religious intolerance. He and his medium journeyed through 16th century Europe to Bohemia, meeting leading political figures including the King of Poland and the Holy Roman Emperor Rudolph II. Throughout their journey the two partners called upon the guidance and help of the spirits and we learn how these spirits were summoned, the help and advice they gave, and the commands that they had for Dee. Whether these manifestations and apparitions were the work of beneficent powers or whether they were the snares of Devils, is a matter for conjecture.
Of Spirits and Apparitions was written at a time when despite the risk of prosecution and public execution, Magic was widely studied and practiced. In these more Enlightened times, Dr. Dee’s immensely significant work is likely to be a major source book for the ever growing following that the Occult commands. (“UM”)
Q: Let’s see what else (“SSS”) is on my bookshelf. Well, you can imagine. Jacques Vallee’s books. (“SSO” “UM”) You can imagine. I won’t bore you with all them. I do have You’ll Never Eat Lunch in This Town Again by Julia Phillips (“SSS”) — which I think is probably (“YEAH”) the best account I’ve read of (“OF”) what makes drugs (“SSS”) so popular. Even though I think they are very destructive and I would never recommend them. And I think that book does dispel any notion (“UH-HUH”) that after the first time there’s anything to be gained from the experience. (“CCE”) And even the first time is bad because you can be hooked (“DDD”) after that first time. (“SO UM” “COURSE”) Flannery O’Connor is here. (“EEE”) Tales of a Long Night by Alfred Döblyn. A Confederacy of Dunces by John Kennedy Toole — I know that’s going to be a s----y movie. (“YEAH”) Let’s see what else. I have Anne Rice’s books and Stephen King first editions. I bought all those things (“IN HIGH”) in high school. Even though I didn’t have much money I would buy those things. (“SO THEY HAVE”) All these first editions of Thomas Tryon’s books. (“UM”) Rachel Ingalls. (“SSS”) Mrs. Caliban — oh, that’s funny. (“YYY”) I can see a parallel there. (“YEAH”) I became a fan of Anaïs Nin when I was working in the porno business. (“BUT”) It’s sort of weird that these (“SSE”) erotica books have come out after she died. (“DDD”) She’s either channeling or they’re ghost-written like so many books you see these days that are written by celebrities. I don’t know how anybody could believe any of that. (“IT’S”) Ludicrous — to think that these celebrities are writing their own books. (“SSS”) In my upstairs hall bookcases (“THIS”) some of the books include (“DDE”) — well, I’ll just mention some of the most (“TTT”) interesting titles. (“SSS” “MMM”) Hmm. Well, of course, I have a lot of Ingmar Bergman and Luis Buñuel screenplays. (“SSS”) And Godard. (“DDD”) Godard? (“HHH”) Of course, he would be one of my favorites. (“UM”) Strangers and Brothers I started to read. (“DDD”) I’m about half way through (“HHH”) the second of the three books. (“SSS”) So, really, I guess that’s book number seven, Homecomings. (“HHH” “I” “LLA”) I think it’s very well-written. (“NNN”) Very long. (“GGG”) Colin Wilson — The Psychic Detectives. (“SSS”) Screen Worlds. I have all these Screen Worlds because of (“YOU KNOW”) credits. When I was doing press kits they were very handy. (“YYY”) All of Shakespeare’s plays. I have the BBC editions. (“NNN” “MUTS”) Books about Hitchcock. (“KKK”) Some Woody Allen screenplays. (“SSS”) I have some wonderful books (“ABOUT”) — one by Fellini that has his cartoons. (“SSS”) That must be a very rare and valuable book. (“AND” “SOME LARGE”) Oh, there are some other large books. (“LIKE”) Fellini’s Films. (“SSS”) My friend James has a wonderful picture taken (“UM”) at Fellini’s memorial services. (“SSS”) He has thousands of unique photos from around the world that should be published. Under the Volcano by Malcolm Lowry. That was a good movie. (“NO”) Well, I don’t want to waste any more tape on this side because this is the epilogue tape. I want to have enough room for my expedition to an antique store tomorrow. I’ll just say one more title. The Beast That Shouted Love at the Heart of the World by Harlan Ellison.
( . . . )
Q: I just did my two hours of volunteer work at the Hotline and now I’m at The Yellow Aster Mercantile Co. It says, “Welcome to The Yellow Aster Mercantile Company where we deal in old kings only.” (“YEAH”) Things — things only.
( . . . )
Q: So the gentleman here doesn’t want me to tape our conversation so I’m just going to ask him if he has any old pieces. (“SO”) Anything in the area of Americana, religion — maybe I’ll ask him if he has any old metal goblets (“SSS”) or something. That might be good. Maybe I’ll get you-know-what. So that’s what I’ll do and see what he decides to recommend I buy.
(TRANSCRIBER’S NOTE: THE PROPRIETOR EVENTUALLY AGREED TO LET ME INTERVIEW HIM.)
H: When I worked at Paramount Studios, I was a grip. I Worked for Jerry Sawyer, Forest Lawn head of construction, and they sent me over to “Bonanza” to work as a grip for one day. And I was allowed to stand outside the stage and hand them the equipment but since I wasn’t family I couldn’t (“TTT”) get inside the stage.
Q: Do you know you look a little bit like Buddy Ebsen?
(TRANSCRIBER’S NOTE: EBSEN WAS BORN CHRISTIAN RUDOLPH EBSEN IN BELLEVILLE, ILLINOIS.)
(“I”)
H: I played Buddy Ebsen’s son on “Wells Fargo” years ago and, yes, you bet. I know Buddy Ebsen.
Q: I’ve met him before.
H: Yeah, I met Buddy — a nice guy.
Q: Is he dead now?
H: Yes. (“BUT HE’S A”) Super-nice guy.
Q: I remember he was trying to get (“A”) a stage play off the ground based on dada. And he gave Ruth Webb, who was my (“A”) associate at the time, and I a pitch about this play he was trying to get off the ground all about dada and surrealism which I thought was a cute idea (“FOR A PLAY”) for a musical.
(“UH-HUH” “BUT IT”)
H: Well — but Buddy was a nice guy. And then I worked on “Wells Fargo.” He was a sheriff and I was his son. And he had two big sons. There was another boy and myself and we did it over at Universal. Those are days that are long gone but I played Buddy Ebsen’s son. Yeah. (“UM-HUH” “WELL IT’S”)
Q: It’s like — a lot of the people that I’ve been buying antiques from also work in the movie business.
H: Oh yeah. Well, I’ve been a grip for many, many years. Do you remember “Outer Limits”?
Q: Yeah, I do.
H: Okay. Alright. Let me show you something which made me, unfortunately, a cult figure.
Q: Oh great.
H: Every dodo has to have a cult, right?
Q: Right. (“DEPECHE”)
H: So this is how I became a cult figure. And I get people coming from all over the United States to see just this. And there’s a reason. I’ll show it to you. Remember that one?
(TRANSCRIBER’S NOTE: HE SHOWS ME SOME STILLS FROM EPISODES OF “THE OUTER LIMITS.”)
Q: Oh my gosh. I remember that alien.
H: That’s me.
Q: What was the alien called?
H: Man from the Planet Chromo. And that was the Keeper of the Purple Twilight.
Q: You played two different monsters?
H: Oh, I did them all for Joe Destefano.
Q: All on (“THE OUTER”) “Outer Limits”? (“ANY”)
H: Any monster he had around. I did it. Well, on “The Outer Limits” series.
Q: Wow.
H: And this one, particularly — remember when they had — (“IN THE”) in the afternoon they ran on a Saturday afternoon non-stop? (“YEAH”) My son, who is an artist — writer. He was up in San Francisco living in a Victorian house with some other kids — they’re all young artists and actors and they’re all active. They rented a Victorian house and they were all living there. And on the Saturday afternoon they were all watching television except my son who was gardening because he likes gardening. And this girl comes running out, screaming, saying, “Rory, Rory, this is the funniest thing that you’ve ever seen. You’ve got to come in and see this.” And Rory said, “Look, I’m gardening. I don’t watch television that much, anyway. I’m not interested.” She said, “No, no, Rory, you’ve really got to see this thing — it is the funniest thing that we, all of us, have ever seen. You’ve got to come in.” She took him by the arm, took him inside to the living room and there was the Man from the Planet Chromo. And she said, “Rory, Rory, isn’t that funny?” He said, “No, it’s not funny. That’s my father.”
Q: (laughs) Those shows scared the bejesus out of me.
H: Yeah. Well, I did — do you remember “Visit to a Small Planet” (“TTT”) with Jerry Lewis? (“YEAH” “YES”) I did a but part with Jerry Lewis on “Visit to a Small Planet.” And I was in a miserable little town in Kansas, which is a one-horse-town. They were having an auction. Bored, I went to this mechanic’s shop to kill some time with my daughter and my son who were children at that time. And the old man was sitting there on a Saturday afternoon amongst all the tools and all that watching a nine-inch television set in the corner. And through the other corner at a forty-five-degree angle I walk in. He looks to the television set and he sees Jerry Lewis and this tall man talking. And then he looks over there and he sees the same man walking through the door. How many times has that ever happened in Kansas in the middle of a Saturday afternoon? Probably never. He almost fell out of his chair. I said, “That’s perfectly alright. The man you see there is the man who’s talking with you.” I don’t think he believed me. I’d go all over the world and come across some things like that. (“THAT”) That happens all the time.
Q: You’re a definite celebrity.
H: No. (“NO”)
Q: No, but you are. I mean you’re not recognizable — (“BUT”) having done this, you are a celebrity.
H: Alright, so I wrangled horses in the United States and I worked cattle down in South America. And I worked sheep up in the Andes Mountains. What does that make me? Just another person who did these things. (“RIGHT”)
Q: Exactly.
H: I work — (“WELL”)
Q: It’s all the same. When we get to where we’re going in heaven, we all start from scratch.
H: Well, I hope we’re — (“SO IT DOESN’T REALLY MAKE A DIFFERENCE”)
Q: It doesn’t really make a difference what we did on Earth.
H: No, it doesn’t make a bit of difference. (“RIGHT”) But that’s exactly that. ([CHILD] INAUDIBLE) I thought you’d find that funny.
Q: I love it (“GO GET”) — and, by the way, thank you for the piece (“RENE”) you’re selling me. I’ll go get my checkbook from my car.
H: You can take a good look at it. (“WE’LL BRING”) We’ll bring it here and I’ll tell you more about it.
Q: Okay, great. (“I’LL PLAY” “OKAY” “PLAY THERE” “BELOW UM”)
H: I’ll show it to you right now.
Q: Okay.
H: The piece was brought by Mary Anne from India. (“BUT”) And it’s a (“CUT THE WOOD” “MOMMY” “A”) small doorway ([CHILD] “MY”) from an old Indian temple. And (“HHH” “VI-VICH”) it’s called the inner temple door. How many years old? Your guess its as good as mine but it’s probably almost in antiquity.
Q: I just love it because —
H: You see — (“IT’S”) but as opposed to an antique —
Q: — I’ve never seen anything like —
H: — which is a hundred years old or older. This has got to be probably close to a thousand years old. (“CLOSE” “AND THIS”)
Q: The symbol for the door (“I”) is so interesting.
H: I know nothing more about it other than she was Mary Anne O’Brien, who, along with Jack Kerouac, (“WAS ONE”) was one of the first hippies. They called them beatniks. (“AT THAT TIME” “RIGHT”)
Q: Right.
H: She now lives in Oahu.
Q: She’s the one who brought this piece in?
H: I bought her estate after she moved to Hawaii — Oahu.
Q: Is she still alive?
H: Oh, Mary Anne? Absolutely.
Q: Was she the one you called?
(TRANSCRIBER’S NOTE: HE CALLED SOMEONE FOR A PRICE ON THE OBJECT.)
H: No, that’s my wife. (“STELLA”) She doesn’t want to have anything to do with society. (“JOSE”)
Q: Okay, well thank you —
H: She’s a very nice lady.
Q: — and Mary Anne.
H: Really something. (“OKAY I’LL TAKE IT”)
Q: I’ll take it. Let me go get my —
( . . . )
(“BUT” “HE”)
H: This is history. It has nothing to do (“WITH”) with guitars. (“OKAY”) This is her first guitar and it’s a real cheapo, lousy guitar. But there it is. And that’s her first guitar. When she was in the hippie movement years ago.
Q: And it says (“WHAT IS THE WORD”) it’s St. George? St. George is the label on it? (“I THINK”) I mean inside there it says — (“SHE BIG”)
H: St. George Classique made in Hollywood, California, so you might have —
Q: Wow.
H: There wasn’t (“TTT”) — but I’ll tell you what.
Q: Well, somebody should get that. (“JUST FOR THE” “MEMORABILE”)
H: We’ve got some memorabilia — this. (“LASSIE”) There she is. (“AAA”) Annie O’Brien.
Q: That’s her name?
H: Not Mary Anne. Annie. (“SORRY”) Annie O’Malley. Why did I think Mary Anne O’Brien?
Q: Annie E. O’Malley.
H: Mary Anne O’Brien’s another person. (“I THINK”)
Q: And she’s from Brookline, Mass. (“SO”)
H: Well, that was one of the places she lived in. When she was a girl. Now Annie O’Malley is the one you’ll find registered in the Library of Congress. Mary Anne O’Brien is an actress I know. (“UH”) I got the two names mixed up. (“OKAY”)
Q: Um-huh.
H: Now Annie O’Malley lives in Oahu and doesn’t really want anything to do with present day society — is retired from society as such. She is a very charming lady and I really think a lot of her. She’s a really sweet lady (“THANK YOU”) and she’s definitely still alive but doesn’t want to come back here to the United States as such. (“NOW” “THE BOOK”) She was one of the first (“OF”) hippie poetry writers. (“SSS”) She has published books and she’s registered in the Library of Congress. You’ll find her there.
Q: Okay, great. And what is she most famous for? (“BEAR”)
H: For her poetry — her beatnik poetry or her beach poetry.
Q: I’ll have to check — (“I’LL HAVE TO GET” “YEAH”) find one of her books.
H: Look up Annie O’Malley in the Library of Congress and you’ll find her. Definitely.
Q: Okay, thank you very much.
H: Mary Anne O’Brien on the other hand is an actress who is a character actress who’s — (“WELL THE NAMES ARE SIMPLE” “BO”)
Q: Did they both give you some of the merchandise in here?
H: Nobody gave me anything so I buy everything.
Q: Oh, I see. (“NOR DO I”) Okay.
H: No, I don’t accept — I love to have business.
( . . . )
H: . . . where I was raised, where I went to school, I knew the MacAdam family because they were my neighbors about three blocks away in a little suburb of Buenos Aires called Florida or (different pronunciation) Florida if you wish but Florida in Spanish. Now, when I went to see “Braveheart,” I fell in love with that dark-haired girl for the simple reason she was the splitting image of a girl that I had known as a young boy in Argentina in 1944/5 — around there. And I couldn’t get over it.
Q: Was it almost like reincarnation or —
H: It was just one of those things. As a Scottish girl (“BODY DOUB”) and his — well, I believe it’s a (“KIM NOVAK”) French actress (“GOT A THING ABOUT”) playing a poor (“WELL”) Scottish girl. (“I PROBABLY”)
Q: French actress. (“ON THE BUS”)
H: And that was the (“SHE WAS”) prettiest (“MY”) girl I’ve seen (“DIVINE”) in many, many years.
Q: I think her name is Sophie Marceau. (“NO THAT’S THE OTHER ONE”)
(TRANSCRIBER’S NOTE: MARCEAU PLAYS FRENCH-BORN PRINCESS ISABELLE IN THE FILM AND CATHERINE MCCORMACK PLAYS THE TITLE CHARACTER’S SCOTTISH LOVER, MURRON.)
H: Yeah. And she was — yeah, that’s her name. And she was just gorgeous. But the funny thing was that I should have — sitting there in a theatre, I was taken back fifty years quickly. And there she was. There was Lorna MacAdam who would have played that part excellently because she was a Scottish girl who believed that way.
Q: Movies are like time machines.
H: Movies are like time machines. Sure they are. But isn’t that (“NO”) amazing?
Q: It’s amazing.
H: You know? But I couldn’t get over “Braveheart” because I loved it.
Q: And MacAdam — I (“DID ONCE”) once did a screenplay adaptation for Bob, Son of Battle and I believe the main character —
H: You did Bob, Son of Battle? (“IN THAT”)
Q: I did a screenplay version.
H: That’s really great. (“YEAH”) Because I remember it. It’s Ollivant, isn’t it, who wrote Bob, Son of Battle?
Q: Right.
H: And I grew up on that book. I fell in love with Collie dogs because of (“RIGHT”) that book.
Q: Well, I did a screenplay version for Mickey Rooney and John Dark was going to produce it but he lost all his funding at the last moment.
H: Oh boy. (“OKAY”)
Q: But I still have it.
H: Bob, Son of Battle — oh, that would be a great picture.
Q: Yeah. (“WOOF”) Thank you for saying that. (“THAT’S IT”)
H: That will be great because I remember. That was my favorite. Bob, Son of Battle.
Q: I changed the ending a little bit, though. (“BECAUSE”) Poetic license.
H: Yeah, but that was great. I still have the book. (“SO”) Since I was a kid, I have had the book. (“SO DO I” “HHH” “BOOKS”)
Q: Yeah, so do I. Okay, great.
H: Absolutely.
( . . . )
(“WRITE DOWN BOUGHT IT”)
H: In 1989 on Christmas Eve, we had a day which was a banner day. (“RIGHT HERE”) It was getting on to about 4:30. I decided to close the store because Christmas Eve is the birth of Christ and I decided that being mercenary wasn’t my idea. It’s definitely alright to run a business but let’s not be that mercenary. Now you have to remember that my wife was raised during the Depression in abject poverty. In Newark, New Jersey, which is no charm. (“NO IT ISN’T”) She was born on the corner of Broad and Market. Or Market and Broad — whichever you like to use. Market and Broad has to be the rottenest corner in the world and it’s rottener now than it was then. And, so, I tell my wife, “We’re going home.” And she said, “Oh yeah? Let’s stay a little longer.” I said, “No, we will not. We’ve done what is more than remarkable and the door is closed.” You see the steel doors — how they close concertina fashion?
Q: Yes.
H: There’s only one open in the middle, which is enough for a person to walk through. One section. And what happened was that a cab drew up to the front and a young man jumped out and he came and he put his arms around my wife and myself. And he said, “You don’t remember me or you probably don’t even know me but when I was a young boy, your husband would show me everything about everything and talk to me in this store when I was just a young boy.” He said, “I joined the U.S. Army, went to Japan, stayed there six years and I just got back. I got to LAX, jumped in a cab and I wanted to know if The Yellow Aster was still there.”
Q: Thank you. So I’ll take this piece and the little metal goblet thing. Whatever it is. (“BUT THAT’S ON[LY]”)
H: That’s only a bottom of a —
Q: That’s okay. (“NO IT”) It’s just symbolic for me. (“OKAY” “I’LL” “THANK YOU”)
H: I’m sure you don’t need that.
Q: No, I know but — (“CLEAN UP” “HAVE”)
H: I’ll tell you what.
Q: I’m starting a collection. (“MOVE IT”)
H: This is what we’ll do. We’ll take the contents of this —
Q: Oh yeah — (“DDD”)
(TRANSCRIBER’S NOTE: TAPE #36, SIDE #2 ENDS HERE.)
The interaction between mankind and spiritual beings—of Divine Encounters—as recorded in scriptures and ancient texts provides a powerful drama that spans Heaven and Earth, involving worship and devotion, eternity and mortality, love and sex, jealousy and murder. But how much of these are based on real happenings and how much is based on myth? Q: Wow. (“UH-HUH”) So, anyway, I have a lot of reading to do. (“UH-HUH”) Do you know how in some books (“SSS”) there are portions (“EDITED”) edited out — censored portions? For example, Letters From The Earth, which was the uncensored writings by Mark Twain?
(TRANSCRIBER’S NOTE: MARK TWAIN’S “THE WAR PRAYER” ALSO REMAINED UNPUBLISHED WHILE HE WAS ALIVE. THE BACK COVER OF MY PAPERBACK EDITION OF THIS POEM OFFERS THE FOLLOWING FROM MARK TWAIN, A BIOGRAPHY BY ALBERT BIGELOW PAINE.) To Dan Beard, who dropped in to see him, Clemens read the “War Prayer,” stating that he had read it to his daughter Jean, and others, who had told him he must not print it, for it would be regarded as sacrilege.
“Still, you are going to publish it, are you not?”
Clemens, pacing up and down the room in his dressing-gown and slippers, shook his head.
“No,” he said, “I have told the whole truth in that, and only dead men can tell the truth in this world.
“It can be published after I am dead.” Q: Well, with my book, obviously, censoring isn’t something I would allow. (“WWW”) And, besides, (“SSS”) I think that book has already been written. The uncensored version of my book is available already. I bought a copy of it once when I went (“TTT”) to Jonathan’s apartment (“TTT”) and he wasn’t there yet. (“TTT”) So I walked down the street to the bookstore A Different Light. (“AND”) There was only one poetry book that was ‘on sale.’ (“LLL”) So I went ahead and bought it. (“UH-HUH”) When I got home I looked at the cover and there was a naked angel (“NO”) and a naked (“DDD”) man. (“UH-HUH”) On the cover. (“UH-HUH” “I”) I didn’t even look at that until I arrived at Jonathan’s home and then I thought it was funny. (“YEAH” “BUT”) This book, when I read it — or portions of it — I didn’t really read it from cover to cover. I just sort of skipped around. It’s like the uncensored writings (“SSS”) of Michael. Special Deliveries by James Broughton.
( . . . )
Q: I was putting that poetry book back and I noticed one of the books in my book case was strangely placed. (“DDD”) It is Beauty and the Beast: Diary of a Film — (“BY”) Jean Cocteau. And the page that’s (“SSS”) bent on the inside is right next to a still of Beauty in her bedroom in the Beast’s castle. Mmmmm. The still reminds me of Michael Jackson. This is a tell-all book about Hollywood in some ways. (“SSS” “SO”) Have you ever wondered why he wears that single glove? (“VVV”) Well, in this still Belle “is wearing the magic glove that transports her between the castle and her home.” And, of course, I don’t think the character’s name was Belle in this movie. I think her name was just Beauty. (“SO UM”) Anyway, I think that’s interesting. I wonder if Michael Jackson consciously had the idea for the single glove after watching this movie. (“NO”) Or if it was something subconscious. (“SSS” “SO UM”) I’m going to put the book back now (“WWW” “IN MY BOOK”) in my case of paperback books. (“SSS”) I also have a few hardbacks in this bookcase such as this book here — (“UM”) Sculpting in Time by Andrey Tarkovsky. To show you how really stupid the Academy of Motion Picture Arts and Sciences is, if you need any proof, his last film, “The Sacrifice,” wasn’t even nominated for Best Foreign Film and in recent years films like “Mediteranneo” have been winning. Any film that has anything to do with death (“THH”) or could be considered depressing in any way is shunned by the Academy. (“YEAH”) I remember going to a screening of the French film “Germinal” about coal miners. (“UH-HUH” “AND UM” “HALF OF IT”) It was a screening for Academy members only. It was several years ago and most of the audience walked out when the poor itinerant miner killed the rich child. (“PEO”) It’s like this is something they don’t want to deal with. (“UH-HUH”) A lot of the Academy is Jewish. I mean I can’t figure this all out. I’m sort of giving you my impressions. And they’re all old. (“UH-HUH”) Most of the Academy is very old. (“UH-HUH”) It’s interesting. (“UH-HUH” “I MEAN WITH”) If they don’t believe in Jesus (“SSS”) then there’s nothing to save them. (“AAA”) Anyway, they can always convert to the religion where love is the only religion. (“NO”) Okay? (“YEAH”) But, hmmm, “The Day of the Locust” was also a Paramount movie. (“YEAH”) By the way, it doesn’t bother me talking about Jewish people because I think I have Jewish ancestry. (“YEAH”) My family history consultant didn’t show up for her appointment so she obviously found something that either freaked her or I don’t know really, but when I realized (“DDD”) that Hanna King at Martin Lawrence Galleries was Jewish (“SHH”) and she had the name King, I realized that there’s a good chance that somewhere in my family tree there are Jewish people. So (“WWW” “I’M TRY”) I want to include an up-to-date as possible family tree in the book. I’d like to also have one of the Bells. (“SSS”) So we’ll see what happens. I still haven’t received anything (“YEAH”) from (“MMM”) Maxine. (“NNN”) She’s probably trying (“YEAH”) but (“UH-HUH” “I”) I think that — I hope not — but Twyla and Maxine may be a little disenchanted with me after telling them some of the things I’ve told them. (“BUT”) Plus — (“SSO”) you know. (“WWW”) There’s a lot more honesty in my book than they probably ever counted on. (“AHH” “SO”) It will be interesting to see what (“WHA”) happens in the editing stages. (“SSS”)
( . . . )
Q: I thought I would just say some of the titles of the books I have in my bookshelf. (“FFF”) Of Spirits and Apparitions, the Portmeirion edition, by Dr. John Dee. On the book binding it says “Whoso beareth this sign about him, all Spirits shall do him homage.” Oh, it’s a neat sign. I think I’ll use that on my Christmas cards next year.
(TRANSCRIBER’S NOTE: I NOTICE ANOTHER SIGN BELOW THE OTHER AND RECITE IT.)
Q: “Whoso beareth this sign about him let him fear no foe but fear God.” I like that sign too. They look like crop circles. (TRANSCRIBER’S NOTE: THIS VOLUME IS NUMBER 652 IN AN EDITION BOUND IN CLOTH AND JACKETED / LIMITED TO ONE THOUSAND COPIES / SIGNED FOR THE PUBLISHERS BY [FIRST NAME ILLEGIBLE] ROBERTSON, THE ANTOINE PUBLISHING CO., LTD.; AND BY SUSAN WILLIAMS-ELLIS, THE GOLDEN DRAGON PRESS, PORTMEIRION. THE FOLLOWING DESCRIPTION IS FROM THE BOOK’S JACKET.) Compiled almost 400 years ago, this book is one of the earliest actual accounts of magical research. It puts us uniquely in touch with attitudes typical of the best minds in Renaissance Europe — when Magic was still mixed with Science, Astrology with Astronomy, Alchemy with Chemistry and Natural Philosophy with Mathematical Physics. Previously little known—due to the scarcity and cost of copies—it is a fascinating classic of the Occult.
Elizabethan England’s leading Philosopher and Scholar, Dr. Dee records his efforts through the use of his Occult powers, to aid humanity by bringing peace and reconciliation to a Europe torn by war and religious intolerance. He and his medium journeyed through 16th century Europe to Bohemia, meeting leading political figures including the King of Poland and the Holy Roman Emperor Rudolph II. Throughout their journey the two partners called upon the guidance and help of the spirits and we learn how these spirits were summoned, the help and advice they gave, and the commands that they had for Dee. Whether these manifestations and apparitions were the work of beneficent powers or whether they were the snares of Devils, is a matter for conjecture.
Of Spirits and Apparitions was written at a time when despite the risk of prosecution and public execution, Magic was widely studied and practiced. In these more Enlightened times, Dr. Dee’s immensely significant work is likely to be a major source book for the ever growing following that the Occult commands. (“UM”)
Q: Let’s see what else (“SSS”) is on my bookshelf. Well, you can imagine. Jacques Vallee’s books. (“SSO” “UM”) You can imagine. I won’t bore you with all them. I do have You’ll Never Eat Lunch in This Town Again by Julia Phillips (“SSS”) — which I think is probably (“YEAH”) the best account I’ve read of (“OF”) what makes drugs (“SSS”) so popular. Even though I think they are very destructive and I would never recommend them. And I think that book does dispel any notion (“UH-HUH”) that after the first time there’s anything to be gained from the experience. (“CCE”) And even the first time is bad because you can be hooked (“DDD”) after that first time. (“SO UM” “COURSE”) Flannery O’Connor is here. (“EEE”) Tales of a Long Night by Alfred Döblyn. A Confederacy of Dunces by John Kennedy Toole — I know that’s going to be a s----y movie. (“YEAH”) Let’s see what else. I have Anne Rice’s books and Stephen King first editions. I bought all those things (“IN HIGH”) in high school. Even though I didn’t have much money I would buy those things. (“SO THEY HAVE”) All these first editions of Thomas Tryon’s books. (“UM”) Rachel Ingalls. (“SSS”) Mrs. Caliban — oh, that’s funny. (“YYY”) I can see a parallel there. (“YEAH”) I became a fan of Anaïs Nin when I was working in the porno business. (“BUT”) It’s sort of weird that these (“SSE”) erotica books have come out after she died. (“DDD”) She’s either channeling or they’re ghost-written like so many books you see these days that are written by celebrities. I don’t know how anybody could believe any of that. (“IT’S”) Ludicrous — to think that these celebrities are writing their own books. (“SSS”) In my upstairs hall bookcases (“THIS”) some of the books include (“DDE”) — well, I’ll just mention some of the most (“TTT”) interesting titles. (“SSS” “MMM”) Hmm. Well, of course, I have a lot of Ingmar Bergman and Luis Buñuel screenplays. (“SSS”) And Godard. (“DDD”) Godard? (“HHH”) Of course, he would be one of my favorites. (“UM”) Strangers and Brothers I started to read. (“DDD”) I’m about half way through (“HHH”) the second of the three books. (“SSS”) So, really, I guess that’s book number seven, Homecomings. (“HHH” “I” “LLA”) I think it’s very well-written. (“NNN”) Very long. (“GGG”) Colin Wilson — The Psychic Detectives. (“SSS”) Screen Worlds. I have all these Screen Worlds because of (“YOU KNOW”) credits. When I was doing press kits they were very handy. (“YYY”) All of Shakespeare’s plays. I have the BBC editions. (“NNN” “MUTS”) Books about Hitchcock. (“KKK”) Some Woody Allen screenplays. (“SSS”) I have some wonderful books (“ABOUT”) — one by Fellini that has his cartoons. (“SSS”) That must be a very rare and valuable book. (“AND” “SOME LARGE”) Oh, there are some other large books. (“LIKE”) Fellini’s Films. (“SSS”) My friend James has a wonderful picture taken (“UM”) at Fellini’s memorial services. (“SSS”) He has thousands of unique photos from around the world that should be published. Under the Volcano by Malcolm Lowry. That was a good movie. (“NO”) Well, I don’t want to waste any more tape on this side because this is the epilogue tape. I want to have enough room for my expedition to an antique store tomorrow. I’ll just say one more title. The Beast That Shouted Love at the Heart of the World by Harlan Ellison.
( . . . )
Q: I just did my two hours of volunteer work at the Hotline and now I’m at The Yellow Aster Mercantile Co. It says, “Welcome to The Yellow Aster Mercantile Company where we deal in old kings only.” (“YEAH”) Things — things only.
( . . . )
Q: So the gentleman here doesn’t want me to tape our conversation so I’m just going to ask him if he has any old pieces. (“SO”) Anything in the area of Americana, religion — maybe I’ll ask him if he has any old metal goblets (“SSS”) or something. That might be good. Maybe I’ll get you-know-what. So that’s what I’ll do and see what he decides to recommend I buy.
(TRANSCRIBER’S NOTE: THE PROPRIETOR EVENTUALLY AGREED TO LET ME INTERVIEW HIM.)
H: When I worked at Paramount Studios, I was a grip. I Worked for Jerry Sawyer, Forest Lawn head of construction, and they sent me over to “Bonanza” to work as a grip for one day. And I was allowed to stand outside the stage and hand them the equipment but since I wasn’t family I couldn’t (“TTT”) get inside the stage.
Q: Do you know you look a little bit like Buddy Ebsen?
(TRANSCRIBER’S NOTE: EBSEN WAS BORN CHRISTIAN RUDOLPH EBSEN IN BELLEVILLE, ILLINOIS.)
(“I”)
H: I played Buddy Ebsen’s son on “Wells Fargo” years ago and, yes, you bet. I know Buddy Ebsen.
Q: I’ve met him before.
H: Yeah, I met Buddy — a nice guy.
Q: Is he dead now?
H: Yes. (“BUT HE’S A”) Super-nice guy.
Q: I remember he was trying to get (“A”) a stage play off the ground based on dada. And he gave Ruth Webb, who was my (“A”) associate at the time, and I a pitch about this play he was trying to get off the ground all about dada and surrealism which I thought was a cute idea (“FOR A PLAY”) for a musical.
(“UH-HUH” “BUT IT”)
H: Well — but Buddy was a nice guy. And then I worked on “Wells Fargo.” He was a sheriff and I was his son. And he had two big sons. There was another boy and myself and we did it over at Universal. Those are days that are long gone but I played Buddy Ebsen’s son. Yeah. (“UM-HUH” “WELL IT’S”)
Q: It’s like — a lot of the people that I’ve been buying antiques from also work in the movie business.
H: Oh yeah. Well, I’ve been a grip for many, many years. Do you remember “Outer Limits”?
Q: Yeah, I do.
H: Okay. Alright. Let me show you something which made me, unfortunately, a cult figure.
Q: Oh great.
H: Every dodo has to have a cult, right?
Q: Right. (“DEPECHE”)
H: So this is how I became a cult figure. And I get people coming from all over the United States to see just this. And there’s a reason. I’ll show it to you. Remember that one?
(TRANSCRIBER’S NOTE: HE SHOWS ME SOME STILLS FROM EPISODES OF “THE OUTER LIMITS.”)
Q: Oh my gosh. I remember that alien.
H: That’s me.
Q: What was the alien called?
H: Man from the Planet Chromo. And that was the Keeper of the Purple Twilight.
Q: You played two different monsters?
H: Oh, I did them all for Joe Destefano.
Q: All on (“THE OUTER”) “Outer Limits”? (“ANY”)
H: Any monster he had around. I did it. Well, on “The Outer Limits” series.
Q: Wow.
H: And this one, particularly — remember when they had — (“IN THE”) in the afternoon they ran on a Saturday afternoon non-stop? (“YEAH”) My son, who is an artist — writer. He was up in San Francisco living in a Victorian house with some other kids — they’re all young artists and actors and they’re all active. They rented a Victorian house and they were all living there. And on the Saturday afternoon they were all watching television except my son who was gardening because he likes gardening. And this girl comes running out, screaming, saying, “Rory, Rory, this is the funniest thing that you’ve ever seen. You’ve got to come in and see this.” And Rory said, “Look, I’m gardening. I don’t watch television that much, anyway. I’m not interested.” She said, “No, no, Rory, you’ve really got to see this thing — it is the funniest thing that we, all of us, have ever seen. You’ve got to come in.” She took him by the arm, took him inside to the living room and there was the Man from the Planet Chromo. And she said, “Rory, Rory, isn’t that funny?” He said, “No, it’s not funny. That’s my father.”
Q: (laughs) Those shows scared the bejesus out of me.
H: Yeah. Well, I did — do you remember “Visit to a Small Planet” (“TTT”) with Jerry Lewis? (“YEAH” “YES”) I did a but part with Jerry Lewis on “Visit to a Small Planet.” And I was in a miserable little town in Kansas, which is a one-horse-town. They were having an auction. Bored, I went to this mechanic’s shop to kill some time with my daughter and my son who were children at that time. And the old man was sitting there on a Saturday afternoon amongst all the tools and all that watching a nine-inch television set in the corner. And through the other corner at a forty-five-degree angle I walk in. He looks to the television set and he sees Jerry Lewis and this tall man talking. And then he looks over there and he sees the same man walking through the door. How many times has that ever happened in Kansas in the middle of a Saturday afternoon? Probably never. He almost fell out of his chair. I said, “That’s perfectly alright. The man you see there is the man who’s talking with you.” I don’t think he believed me. I’d go all over the world and come across some things like that. (“THAT”) That happens all the time.
Q: You’re a definite celebrity.
H: No. (“NO”)
Q: No, but you are. I mean you’re not recognizable — (“BUT”) having done this, you are a celebrity.
H: Alright, so I wrangled horses in the United States and I worked cattle down in South America. And I worked sheep up in the Andes Mountains. What does that make me? Just another person who did these things. (“RIGHT”)
Q: Exactly.
H: I work — (“WELL”)
Q: It’s all the same. When we get to where we’re going in heaven, we all start from scratch.
H: Well, I hope we’re — (“SO IT DOESN’T REALLY MAKE A DIFFERENCE”)
Q: It doesn’t really make a difference what we did on Earth.
H: No, it doesn’t make a bit of difference. (“RIGHT”) But that’s exactly that. ([CHILD] INAUDIBLE) I thought you’d find that funny.
Q: I love it (“GO GET”) — and, by the way, thank you for the piece (“RENE”) you’re selling me. I’ll go get my checkbook from my car.
H: You can take a good look at it. (“WE’LL BRING”) We’ll bring it here and I’ll tell you more about it.
Q: Okay, great. (“I’LL PLAY” “OKAY” “PLAY THERE” “BELOW UM”)
H: I’ll show it to you right now.
Q: Okay.
H: The piece was brought by Mary Anne from India. (“BUT”) And it’s a (“CUT THE WOOD” “MOMMY” “A”) small doorway ([CHILD] “MY”) from an old Indian temple. And (“HHH” “VI-VICH”) it’s called the inner temple door. How many years old? Your guess its as good as mine but it’s probably almost in antiquity.
Q: I just love it because —
H: You see — (“IT’S”) but as opposed to an antique —
Q: — I’ve never seen anything like —
H: — which is a hundred years old or older. This has got to be probably close to a thousand years old. (“CLOSE” “AND THIS”)
Q: The symbol for the door (“I”) is so interesting.
H: I know nothing more about it other than she was Mary Anne O’Brien, who, along with Jack Kerouac, (“WAS ONE”) was one of the first hippies. They called them beatniks. (“AT THAT TIME” “RIGHT”)
Q: Right.
H: She now lives in Oahu.
Q: She’s the one who brought this piece in?
H: I bought her estate after she moved to Hawaii — Oahu.
Q: Is she still alive?
H: Oh, Mary Anne? Absolutely.
Q: Was she the one you called?
(TRANSCRIBER’S NOTE: HE CALLED SOMEONE FOR A PRICE ON THE OBJECT.)
H: No, that’s my wife. (“STELLA”) She doesn’t want to have anything to do with society. (“JOSE”)
Q: Okay, well thank you —
H: She’s a very nice lady.
Q: — and Mary Anne.
H: Really something. (“OKAY I’LL TAKE IT”)
Q: I’ll take it. Let me go get my —
( . . . )
(“BUT” “HE”)
H: This is history. It has nothing to do (“WITH”) with guitars. (“OKAY”) This is her first guitar and it’s a real cheapo, lousy guitar. But there it is. And that’s her first guitar. When she was in the hippie movement years ago.
Q: And it says (“WHAT IS THE WORD”) it’s St. George? St. George is the label on it? (“I THINK”) I mean inside there it says — (“SHE BIG”)
H: St. George Classique made in Hollywood, California, so you might have —
Q: Wow.
H: There wasn’t (“TTT”) — but I’ll tell you what.
Q: Well, somebody should get that. (“JUST FOR THE” “MEMORABILE”)
H: We’ve got some memorabilia — this. (“LASSIE”) There she is. (“AAA”) Annie O’Brien.
Q: That’s her name?
H: Not Mary Anne. Annie. (“SORRY”) Annie O’Malley. Why did I think Mary Anne O’Brien?
Q: Annie E. O’Malley.
H: Mary Anne O’Brien’s another person. (“I THINK”)
Q: And she’s from Brookline, Mass. (“SO”)
H: Well, that was one of the places she lived in. When she was a girl. Now Annie O’Malley is the one you’ll find registered in the Library of Congress. Mary Anne O’Brien is an actress I know. (“UH”) I got the two names mixed up. (“OKAY”)
Q: Um-huh.
H: Now Annie O’Malley lives in Oahu and doesn’t really want anything to do with present day society — is retired from society as such. She is a very charming lady and I really think a lot of her. She’s a really sweet lady (“THANK YOU”) and she’s definitely still alive but doesn’t want to come back here to the United States as such. (“NOW” “THE BOOK”) She was one of the first (“OF”) hippie poetry writers. (“SSS”) She has published books and she’s registered in the Library of Congress. You’ll find her there.
Q: Okay, great. And what is she most famous for? (“BEAR”)
H: For her poetry — her beatnik poetry or her beach poetry.
Q: I’ll have to check — (“I’LL HAVE TO GET” “YEAH”) find one of her books.
H: Look up Annie O’Malley in the Library of Congress and you’ll find her. Definitely.
Q: Okay, thank you very much.
H: Mary Anne O’Brien on the other hand is an actress who is a character actress who’s — (“WELL THE NAMES ARE SIMPLE” “BO”)
Q: Did they both give you some of the merchandise in here?
H: Nobody gave me anything so I buy everything.
Q: Oh, I see. (“NOR DO I”) Okay.
H: No, I don’t accept — I love to have business.
( . . . )
H: . . . where I was raised, where I went to school, I knew the MacAdam family because they were my neighbors about three blocks away in a little suburb of Buenos Aires called Florida or (different pronunciation) Florida if you wish but Florida in Spanish. Now, when I went to see “Braveheart,” I fell in love with that dark-haired girl for the simple reason she was the splitting image of a girl that I had known as a young boy in Argentina in 1944/5 — around there. And I couldn’t get over it.
Q: Was it almost like reincarnation or —
H: It was just one of those things. As a Scottish girl (“BODY DOUB”) and his — well, I believe it’s a (“KIM NOVAK”) French actress (“GOT A THING ABOUT”) playing a poor (“WELL”) Scottish girl. (“I PROBABLY”)
Q: French actress. (“ON THE BUS”)
H: And that was the (“SHE WAS”) prettiest (“MY”) girl I’ve seen (“DIVINE”) in many, many years.
Q: I think her name is Sophie Marceau. (“NO THAT’S THE OTHER ONE”)
(TRANSCRIBER’S NOTE: MARCEAU PLAYS FRENCH-BORN PRINCESS ISABELLE IN THE FILM AND CATHERINE MCCORMACK PLAYS THE TITLE CHARACTER’S SCOTTISH LOVER, MURRON.)
H: Yeah. And she was — yeah, that’s her name. And she was just gorgeous. But the funny thing was that I should have — sitting there in a theatre, I was taken back fifty years quickly. And there she was. There was Lorna MacAdam who would have played that part excellently because she was a Scottish girl who believed that way.
Q: Movies are like time machines.
H: Movies are like time machines. Sure they are. But isn’t that (“NO”) amazing?
Q: It’s amazing.
H: You know? But I couldn’t get over “Braveheart” because I loved it.
Q: And MacAdam — I (“DID ONCE”) once did a screenplay adaptation for Bob, Son of Battle and I believe the main character —
H: You did Bob, Son of Battle? (“IN THAT”)
Q: I did a screenplay version.
H: That’s really great. (“YEAH”) Because I remember it. It’s Ollivant, isn’t it, who wrote Bob, Son of Battle?
Q: Right.
H: And I grew up on that book. I fell in love with Collie dogs because of (“RIGHT”) that book.
Q: Well, I did a screenplay version for Mickey Rooney and John Dark was going to produce it but he lost all his funding at the last moment.
H: Oh boy. (“OKAY”)
Q: But I still have it.
H: Bob, Son of Battle — oh, that would be a great picture.
Q: Yeah. (“WOOF”) Thank you for saying that. (“THAT’S IT”)
H: That will be great because I remember. That was my favorite. Bob, Son of Battle.
Q: I changed the ending a little bit, though. (“BECAUSE”) Poetic license.
H: Yeah, but that was great. I still have the book. (“SO”) Since I was a kid, I have had the book. (“SO DO I” “HHH” “BOOKS”)
Q: Yeah, so do I. Okay, great.
H: Absolutely.
( . . . )
(“WRITE DOWN BOUGHT IT”)
H: In 1989 on Christmas Eve, we had a day which was a banner day. (“RIGHT HERE”) It was getting on to about 4:30. I decided to close the store because Christmas Eve is the birth of Christ and I decided that being mercenary wasn’t my idea. It’s definitely alright to run a business but let’s not be that mercenary. Now you have to remember that my wife was raised during the Depression in abject poverty. In Newark, New Jersey, which is no charm. (“NO IT ISN’T”) She was born on the corner of Broad and Market. Or Market and Broad — whichever you like to use. Market and Broad has to be the rottenest corner in the world and it’s rottener now than it was then. And, so, I tell my wife, “We’re going home.” And she said, “Oh yeah? Let’s stay a little longer.” I said, “No, we will not. We’ve done what is more than remarkable and the door is closed.” You see the steel doors — how they close concertina fashion?
Q: Yes.
H: There’s only one open in the middle, which is enough for a person to walk through. One section. And what happened was that a cab drew up to the front and a young man jumped out and he came and he put his arms around my wife and myself. And he said, “You don’t remember me or you probably don’t even know me but when I was a young boy, your husband would show me everything about everything and talk to me in this store when I was just a young boy.” He said, “I joined the U.S. Army, went to Japan, stayed there six years and I just got back. I got to LAX, jumped in a cab and I wanted to know if The Yellow Aster was still there.”
Q: Thank you. So I’ll take this piece and the little metal goblet thing. Whatever it is. (“BUT THAT’S ON[LY]”)
H: That’s only a bottom of a —
Q: That’s okay. (“NO IT”) It’s just symbolic for me. (“OKAY” “I’LL” “THANK YOU”)
H: I’m sure you don’t need that.
Q: No, I know but — (“CLEAN UP” “HAVE”)
H: I’ll tell you what.
Q: I’m starting a collection. (“MOVE IT”)
H: This is what we’ll do. We’ll take the contents of this —
Q: Oh yeah — (“DDD”)
(TRANSCRIBER’S NOTE: TAPE #36, SIDE #2 ENDS HERE.)
