INTERVIEW — TAPE #50, SIDE #2
Q: Mark Russell Bell
I: Marie Todd (friend)
W: Ruth Webb (talent agent in Los Angeles)
I: The Hitchcock Theatre at Universal Studios. (“UM-HUH”)
Q: That’s a great theatre. I saw (“LIKE”) “Vertigo” there. (“SHOW ME” “WHEN THEY”)
I: Incredible screening room.
Q: When they redid all those new prints for a Hitchcock film re-release series I went to (“GREAT”) each one. (“GREAT”)
I: Oh, how cool.
(TRANSCRIBER’S NOTE: THESE FILMS WERE “REAR WINDOW,” “ROPE,” “THE TROUBLE WITH HARRY” AND “VERTIGO.” AT THIS POINT OF TRANSCRIBING I REALIZED THAT LAUGHTER SOUNDING LIKE MARIE’S IS IN FACT A SPIRIT IMPERSONATION; AS WELL AS SUCH WORDS AS ‘LIKE’ ATTRIBUTED TO MYSELF IN THE MANUSCRIPT WERE OSTENSIBLY SPIRIT ADDITIONS. SOME OF THESE WERE CORRECTED OR DELETED IN THE FINAL EDITING OF THE BOOK.)
Q: And I’ve seen other movies there. (“I THINK” “Y[OU]”) You know — but anyway.
I: We’re seeing “12 Monkeys.” (“RIGHT”)
Q: Right. Who’d have thunk it? It’s not on my list of films I want to see. I would rather be seeing “Persuasion” but I guess Michael would rather (“BE SSS”) me be seeing this. So today the only thing really unusual He did was I found my listening device for my tape recorder wrapped up in a sweet little (“OH MY GOD” “IT WAS LIKE”) ball. (“WITH A LITTLE”) It was tied quite nicely. It was very sweet because I never do that. (“I JUST”) I usually leave it hanging somewhere. It almost looked like a little noose. It was very cute, to say the least. (“YEAH” “AND HOW”) And what are you feeling right now, Marie?
I: I don’t even know. I’m just mesmerized by whatever it is that you’re going to tell me. (small laugh) You just look like you have news to share or —
Q: Marie, just go ahead and recap. (“JUST” “YOU”) You know, like what you’re reading or — (“OH”)
I: Ohh, I’m reading a gift I got for Christmas about The Doors — primarily a biography of Jim Morrison called No One Here Gets Out Alive. (“AND”)
Q: Christmas decorations — you were telling me.
I: I realized when I was tearing down my Christmas tree that (“THE RUG”) the top of my Christmas tree had the traditional Christmas angel with the candle which was illuminated with — (“LIGHT”)
Q: Man or woman?
I: — lights. A woman in a white satin dress. And, then, the two ornaments that were placed below that — they ended up being in a triangle position with the angel on the top and it wasn’t done cognizantly. I just threw my Christmas tree together and on the right side was a heart with cupids, roses and whatever. And then on the left side was a red bell. And I didn’t think about the placement at the time because I decorated my Christmas tree in a haphazard, (“TESSIE”) quick manner. (“RIGHT”) And after it had been up for several weeks I realized the placement of the ornaments.
Q: And did you bring those photos to show me too?
I: Yes, I did, but I left them in the car because it was raining.
Q: And what photo — (“IS THIS”) one for my book maybe? (“MAYBE”)
I: You’ll have to look at them and see.
Q: Just what is it — just describe it in one sentence. (“A”)
I: An alluring lingerie pose (“OKAY”) provocative photo. (small laugh) If that’s the one we use.
Q: Okay, fine. (“AND UM”) And now also I gave you the printout of your (“INTER”) first interview. (“AAAAAAA” “AND UM”) I gave that to you a while ago. (“BUT”) Have you read that one yet?
I: Yes, you gave it to me around Christmastime and I haven’t read it yet because I just haven’t been able to come to terms with myself on paper because I’m not nervous about the interview — that was fine, except looking at conversation quality on paper I just don’t know how much rambling I did or if I spaced out in a few segments or whatever. So I just haven’t been able to (“HUHH”) focus and bring myself to terms with it and not feel (“INTERVIEW MAMIE”) like a bimbo. (laughs)
Q: Right. I don’t think so. (“BUT”) Have you had any phenomena? Any telephone phenomena or any objects moving or anything strange?
I: I’ve had several phone calls where no one speaks. And I have an unlisted phone number so that kind of pissed me off.
Q: Do they hang up or do you? (“AAAA”)
I: There’s like nothing there.
Q: That doesn’t sound like Michael to me. (“NO I DON’T”) He wouldn’t do that.
I: I don’t know what it is unless it’s a wrong number or somebody being an idiot or whatever. I don’t know.
Q: It can’t be the CIA. (“I MEAN”)
I: No, I don’t — (“I’M NOT”) it hasn’t made me paranoid but I guess I just really don’t have any weird telephone stuff going on. (“RIGHT”)
Q: And let’s see what else? (“SO THERE”) I guess the only thing we’ll (“CONC”) conclude real quick is that when I first started my project I was very much like you, Marie. It was devastating to read each line and each sentence and each page because I kept thinking, “What will people think? I don’t want them to know this.”
I: I’m not worried about what I said or (“SSS”) revealed, I just didn’t know — (“I’M”) I’m — I like to read books and I just hope that — (“BE”) you know? (“RIGHT”) And the speaking part of it. And it being unedited.
Q: I know. I know.
I: I hope I’m just not being senseless. (“WELL”) That’s all. It’s not a fear factor.
Q: Whenever I try to explain this outside of my book I worry about what I say. I feel like I’m getting into trouble real quick because it’s very easy to say something that doesn’t leave the correct impression. That’s why I’d much rather let my entire book speak for itself and not (“CLOCK”) address specific issues.
I: I think (“UHH”) it’s not even (“IHHH”) in just making statements about right or wrong or how someone’s going to interpret it. I just hope that I painted a clear picture in what I was trying to say.
Q: You did.
Q: I hope I did. And I have lot more than you did, which I don’t know is good or bad. (“SSS”)
I: It’s good because it’s your point of view. I mean you’ve led people through all sorts of interesting experiences and that’s what your book’s about. It’s like a massive self-discovery for (“RIGHT”) a lot of people. In synchronicity. (“JUST”)
Q: And I wonder (“LIKE”) when the small phenomena I describe starts becoming big phenomena.
I: We’ll just have to wait and see.
( . . . )
Q: So Marie and I are in the car after watching “12 Monkeys,” waiting for all the cars to go by.
I: Yeah, so we can get out and not be in the exhaust haze. (“RIGHT”)
Q: So what did you think of the movie?
I: I thought it was great. (“NOW WHAT” “THIS MADE”)
Q: This movie is the biggest moneymaker for three weeks in a row.
I: Well, it’s a great Terry Gilliam film.
Q: Did you hear that woman behind us saying, “A lot of people thought this movie wasn’t even releasable. The person who wrote this was really sick.”
I: Well, I heard her but I tuned her out because somebody’s always got to be bitching about something instead of just taking it for what it is and what the writer was expressing and accepting that whether they agree with the material or not. If they don’t like it then they should just leave.
Q: I mean this film is a big commercial hit.
I: Right, it’s got a science fiction entity to it and it (“SH”) shows great character development and how people’s lives are changed by the people that come into their life with a sequence of events that happens so you really can’t predict how somebody would, could or — the famous should word — behave. Because you don’t know until your own personal life has been affected. In anything.
Q: Obviously, this film is a very symbolic film. (“I MEAN I’M”) I’m sure you noticed in the beginning the lion.
Q: The movie score reminded me very much of those in Fassbinder films.
I: Yes, it did. It had that quality throughout.
Q: Also some of Laurie Anderson’s songs.
I: Yes, it did. And it also had, I believe, Tom Waits’s material in there also.
Q: Right. (“AND UM”) Do you remember when we were working at (“AT RU”) the Ruth Webb Agency? Wasn’t Frank Gorshin one of the clients?
I: Yes. The Riddler. (“RIGHT”)
Q: He was doing dinner theater, I think, at the time.
I: Well, he was a famous impressionist — or is. Excuse me, I don’t mean to say was. I just remember seeing him a long time ago in Vegas somewhere doing his — he’s got that (“YOU KNOW”) thousand faces quality.
Q: So — (“LET’S SEE I”) and I also noticed — did you notice all the feathers in the scene?
Q: Where Brad Pitt was —
I: In the asylum at nighttime. In the shot with the pillows. And the feathers were everywhere.
Q: And what about the disembodied (“SNAKE”) voice? Did you think of Michael? (“I DID”) You’ve heard voices before.
Q: “MARK RUSSELL BELL.”
I: Yes, it was —
Q: By the way, do you think that it was Mark Russell Bell or could it have been Marduk Russell Bel?
I: That is so close, it’s just —
Q: I know. That’s why I’m asking.
I: Well, I think situations and people in them have different personas.
Q: Right, exactly.
I: At different times in their life. (“NO JUST BECAUSE” “IN MY”)
Q: My brother Michael said, “Maybe it should be Marduk Russell Bel” —
I: Yeah, there you go.
Q: — for my pseudonym. (“THAT PART”) What do you think?
I: That’s probably more poetic. (“SO WHAT”) And it also fits in with (“SO”) your whole historical past.
Q: Now, watching this movie — (“I CAN NEVER”) I, for one, could never forget I was watching a movie simply because I knew it was going to be very prophetic or I would not have been seeing it tonight.
I: Right. And that’s also part of the way Terry Gilliam makes films. (“RIGHT IT’S” “NOTICE THE TWO” “THE EN”)
Q: The entity that personified God were the many people in the white overcoats.
Q: Especially when they were in that big ball of (“AND THAT KAA”) movie cameras with all the eyes. Like the eye of God. (“IT’S LIKE” “IT”) It’s an amassing of souls, basically. And that’s what Michael is. So that’s how He’s depicting Himself in this movie.
I: Well, I believe that they all came together on behalf of one vision. (“EXACTLY” “GOD” “SSS”)
Q: The Creator’s vision. And (“I CAN”) the last sentence in the movie. It’s all about an insurance policy. (“I MEAN”) They can use viruses as an insurance policy against mankind.
I: To manipulate the world.
Q: Right. Because maybe if mankind isn’t going to clean up the planet, the easier solution would be to clean up mankind.
I: That’s it. And we’ve been cruel to the Amazon.
Q: And by the way have you — (“GOOD”)
I: What’s happening to the rain forest is —
Q: Did you see the movie “Seven”? (“WE COULD”)
I: — frightening. (DISTANT YELLING “NOW”)
Q: I — for one — you didn’t call me (“AND”) and you didn’t invite me to see the movie “Seven” with you. (“BUT”) What did you think of it?
I: I saw it in a movie theatre. I didn’t attend a screening (“UH-OH”) for it. (“DID”)
Q: By the way, did you also notice the symbol of the heart?
I: Yes. (“SO”)
Q: There’s always — (“ALL THE” “AND”) by the way, (“I OWE”) did you notice I was fidgeting in my seat a lot earlier than that?
Q: Michael was fibrillating my heart like He does sometimes.
Q: (seriously) Like He’s doing right now. Michael, stop it. Owww! Jesus! Christ! He can do that.
I: Are you having chest pains?
Q: No, He’s fibrillating my heart.
Q: Like in the movie (“IN THE EEH”) “Exorcist II: The Heretic.” (“OOOHH”) Jesus.
I: Oh my goodness. (“YUMMY” “HE”)
Q: He did —
I: Do you like my earrings? (“WHAT”)
Q: What are they? Oh, hearts.
I: They’re silver hearts.
Q: Silver. (“YOUR”) That’s your metal. (“GAY” “YES”)
I: I guess. (“FUCKING” “OOOOHHH”)
Q: So Michael, yes, we know you’re there. Yes. We know you’re the all-time insurance broker for mankind. Yes. I can’t believe I have the Bruce Willis role. I hope I don’t have a grisly death (“UMP-UH”) like he does. (“BUT” “IT”) That sounds like something I would do.
Q: Okay. Well, hopefully, it won’t happen (“THOUGH”) again. I mean I (“RE”) don’t really need to do that again.
I: You don’t need to be that dramatic. (“I MEAN THAT”)
Q: I mean symbolically. I’m not talking about reincarnation here. (“JUST YOU KNOW”)
Q: I don’t know. I just don’t know what else to say. There were just lots of symbols. (“UH-HUH” “UH” “I DIDN’T REALLY”) I know Michael’s very proud of His movie. That’s why (“HE”) He’s taking so many people to see it. (“BUT”) For example, “Vincent and Theo” — I really liked that movie. (“BUT”) When I was transcribing my tapes, (“HE”) He said something that indicated He didn’t think much of it. So we do have different tastes in movies but I respect His artistic vision.
I: Everybody does.
Q: Exactly. So I mean I still would have gone. (“I’M STILL LIKE”)
I: And I also (“THE MOVIE”) liked the statement in the movie that you can see something many times but every time you see something you see through different eyes because your life has gone through other changes and experiences.
Q: And wasn’t that funny? (“TOO”) We were talking about “Vertigo” before the movie.
Q: And then we actually were seeing “Vertigo” in the movie.
I: Exactly. (“AND”) In the Hitchcock Theatre.
( . . . )
I: I knew I had to bring you to this movie because I’ve (“HAD”) already seen it.
Q: So you’ve seen it twice?
I: Yes. But I didn’t want to tell you that before the movie. (laughs)
Q: You know I would never have chosen this movie on my own.
I: Oh, I know.
Q: But actually it is very interesting. I was just thinking of something. (“OH WELL”) I’ll think of it in a moment. Let’s drive. (“OKAY”)
( . . . )
Q: So Marie’s driving and I was just thinking that whole theme about not being able to change the future — which is the theme of my book — was also the theme of this movie. What do you think, Marie? Do you think it’s possible to change the future?
I: What do you mean? Individually or — (“NO”)
Q: It’s possible that God already knows everything that’s going to happen in the future. (“BUT”) It’s possible too that He has different (“OP”) options.
I: Well, but circumstances always —
Q: Exactly. (“YEAH”)
I: — change things. And —
I: — as we all know — (“IS”) something can look like it’s going in one direction. Whether it’s a scene from the movie or a scene in your own life and one circumstance changes and then all the objectives change.
Q: Right. So — (“SO MAYBE”)
I: It becomes something else.
Q: So maybe in this game that God is playing, in which I’m the wild card, what happens next will determine the outcome of the game — different variations of the game. So (“WHAT DO YOU”) what do you think about Michael at this point? (“WELL INTER”) Did you also notice too how (“YOU KNOW THAT WHOLE”) they were talking about kidnappers and how the person who is kidnapped always tries to depict the kidnapper as somebody who’s very nice and loving?
Q: And misunderstood? (“GOOD”)
I: Yes. (“THEY KEPT”) They reinstated that point several times.
Q: Well, isn’t that my story with Michael? I always say, “Oh, He’s a God of love.”
I: Yes, you’ve said that a million times at least.
Q: And we all really know that He’s not just a God of love, He’s also a little demented.
I: Well, I think in any proper balance there’s always — whether it’s yin/yang, left/right —
Q: Look. There’s the poster now for “12 Monkeys.” “The future is history.”
I: — good and evil.
Q: Golden Globe nominee Brad Pitt. (“SO”) Oh, it’s interesting, Marie, that you’re going straight instead of bearing to the right here. Why did you do that?
I: I didn’t even think. I just drove.
Q: Because it would have been faster to go to the other way. Okay, we’ll go straight.
I: I know.
Q: There must be a good reason —
I: Because I know that’s Cahuenga and — ([FALSETTO] “THERE MUST BE”) I would hit Riverside the same way.
Q: I’m sure Michael had a reason why He didn’t have you turn. So let’s just —
Q: — keep our eyes open and see what Michael wanted us to find. I have a feeling I know what it is.
I: Oh, I know what it is because you were talking when we drove this way about Portobello.
Q: What is Portobello?
I: I don’t know.
Q: Can you believe it? All these bells?
I: All I remember was (“NO”) I was in a hurry driving here so — (“BUT”)
Q: You could have turned down the other street and you didn’t.
I: No (“BUT BUT”) and I would normally go that way. (“SO”)
Q: Michael wants —
I: Plus, I know there’s road construction here also.
Q: So let’s just stop by Portobello (“SSS”) and see exactly what Portobello is.
I: Because (“WHEN WE”) I remember after I had turned the corner onto Lankershim off Riverside you said, “Oh, Portobello.” (“RIGHT” “AND”)
Q: Well I just — (“NOTICE IT”)
I: I couldn’t turn, drive and look because I had the (“OH”) right of way.
Q: Is this it? No.
I: They’re open for business during construction. (“WELL WHAT IS WHAT”) So what’s businessing back there?
Q: But it’s Postobello. Right?
I: Postobello. Maybe it’s a post office spot — it’s mailboxes.
Q: Well, it might be antiques.
I: Oh, it looks like antiques. (“UHH”) Because there’s a lamp in the window and they don’t have lamps in post office windows. (laughs)
Q: Well, you know where my next destination is for my next antique outing.
I: Postobello? (small laugh)
Q: Correct. (“PROB”) I’ll probably end up getting the “Desiderata.” (“OKAY”) Oh my God, look. (“OHHH”) Altobelli Jewelers. Oh Marie. (“UHHH”) We’re in a major Bell — whatever it is. (laughs)
I: (laughs) Oh, here’s Riverside. (“OKAY”)
Q: (a capella) Take me to the river.
I: (small laugh) Oooh. (“SO”) Orange cone land. That’s what we’re in.
Q: Exactly. A lot of flooding in this area.
I: Uh-huh. (“OH MY GOODNESS”)
Q: So it’s raining and we’re almost back to where my car is. (“SO” “UH-HUH”) I don’t know. (“NO”) Any final thoughts about “12 Monkeys”? No?
I: No. (“OKAY”)
( . . . )
I: . . . balance is everything.
Q: Balance is everything.
I: It’s like the key to the universe. (“BUT”)
Q: What do you mean? Like balance in terms of good and evil? But good is more strong than evil.
I: Right. But also (“IN ON”) in everything it has to balance. Sound has to balance. That’s why they have equalizers, right?
Q: Right. (“SO”) That’s why — (“I GUESS”)
I: Tires have to be balanced on a car.
Q: I guess Michael is using me to balance (“I THINK”) mankind.
I: I think because balance is everything whether you’re an athlete or whether it’s (“UHHH”) something physical or something’s being built or emotions. They need to be balanced, otherwise everybody’s delusional and out of whack.
Q: Right. (“WELL THAT” “THE BUDDHA”) Well, this movie reminded me of when I was in Alhambra CPC. I mean it definitely — (“I”) I even was on (“SSS SSS SSS”) Stelazine. I mean that’s the exact same drug that I was on. Oh, there’s my car right there.
I: Oh, okay.
Q: Oh my goodness. (“COME”) Well, thank you, Marie, for inviting me.
I: Oh, you’re welcome. I had fun.
Q: I wish you had invited me to see “Persuasion” instead.
I: I didn’t have a pass for “Persuasion.”
Q: Right. Well, let me know when the next — (“I JUST”)
I: This just came up (“CA”) and I thought —
Q: Feel free to invite me next time too.
I: Oh, absolutely. Well, I invited you to “Carrington” yesterday.
Q: Yeah, I know, but I had hypnotherapy. (“YOU HAD OTHER THING”) Okay, thank you. (“FOR THIS”) New interview. I don’t know if it’s (“I LOVE HIM”) in my old book or my new book but (“ONE OF EM”) one of them.
( . . . )
Q: Marie, look what I found right outside your car.
I: What? It’s a food coupons book cover (#E76535129J; unsigned on other side) that says value $65. Whoops. And, look, it’s got a big bell on it.
I: (gasps) You were talking about that but this — (“EHH”) it says there’s a — I don’t know what that is. (“BUT IT’S”)
Q: Another bell.
I: The bells are chasing you. (small laugh)
I: They’re in your path because I could have let you out of this car anywhere. That’s wild because this is drenched from the rain.
Q: Well, another prophecy.
I: That’s it.
( . . . )
I: You were talking about the people in markets and food coupons.
Q: And what was I saying?
I: And you were saying how some of these people with food coupons eat better than anybody else. And I also said that when I shop at this one market near where I live, that’s all you see. (“LIKE”)
I: You said that everyone uses them.
Q: Everyone at this one store. (“WOOD”) I can’t go there any more because there’s never enough check-out clerks.
I: Well, that’s horrible.
Q: They always have closed check-out counters and there are always long lines. I don’t understand it. I mean they’re doing — (“OU”)
I: Is it a food market or a large chain?
Q: It’s a large chain and they’re making money hand over fist and they don’t have enough cashiers.
I: Oh, that’s horrible.
Q: I guess they (“FEEL”) feel in Beverly Hills they’ll have enough cashiers but in Echo Park “screw the pigs.”
I: Oh, it’s bad everywhere. They never have enough check-out (“UH”) cashiers. (“CORRECT”)
Q: But it’s especially bad in Echo Park. (“AHHUUUU” “IT’S”)
I: It’s bad in West Hollywood too though but I — (“IT’S PRO”) probably it is better. (“YEAH BUT YOU”)
Q: You have not shopped in Echo Park. (“WHY A”)
I: No. (“AND”)
Q: Talk about cockroaches. I’ve seen major cockroaches in that store.
I: Ooh, that’s frightening.
Q: Michael loves cockroaches.
I: Because they existed forever? (“PROBABLY THEY’LL BE HERE LONG AFTER MAN”)
Q: They’re probably the next race. (“WERE”) Were there any insects in “12 Monkeys”?
I: Yes, the spider. Because (“UH”) the team of people wanted Bruce Willis to bring the spider back so he ate it when he was in 1990. (“I”) Remember?
Q: I’ve had spiders crawling on me. Fiona’s had spiders crawling on her.
I: They’re dangerous. (“TOO”)
Q: Have you ever had that?
I: Not that I can remember but I know it’s very dangerous if you get a spider bite because you can get killed from them. (“YIKES”)
I: There’s a spider called the brown recluse, I believe. (“RIGHT” “BUT THEY”) And it poisons your system.
Q: That’s the violin spider?
I: Um-huh. (“BUT THEY’RE” “YOU CAN” “THEY”)
Q: They look like tarantulas, I understand. (“THERE’S GOOD SPIDERS TOO” “I”)
I: I don’t know what they look like but I’ve known people that have had —
Q: Well, let’s just say that God can work through (“THIS LITTLE”) subconscious minds of insects like ants, spiders and cockroaches.
I: Oh yes.
Q: And animals. (“SO”) It will be interesting to see what happens —
I: I wonder why bugs. (“CAUSE”) Bugs drive people crazy.
Q: Now you know why.
I: Uh-huh. (small laugh)
Q: You have to read Mark Twain’s Letters From The Earth.
I: Oh, okay. (“FOR”) I’ve never read that.
Q: For more clarity.
I: Okay. (“OKAY”) Thanks.
( . . . )
Q: Marie, have you ever had heart fibrillations? (“AAA”)
I: A few times and it freaks me out really bad when — (“UH EH”) if I’ve had something that’s felt like that or a nerve impulse or being around anybody else I just lose it because my father had a massive heart attack and any time something happens with people’s breathing or their heart or — (“NERVES”) it just sends me to a state that I can’t deal with. (“YEAH”) It’s upsetting because I don’t like to see anybody being helpless. People or animals. (“WELL”)
Q: I know.
I: It’s very disturbing.
Q: So, Michael, if we show you and express you our love, will you leave us alone? (“UH-HUH”)
( . . . )
Q: Fear is a (“WRO”) wonderful motivator. That’s why (“EEEEEEE”) hostages always (“UM”) try to paint their kidnappers as being very nice and loving. I know from my own experience. (“BUT I”) In my heart I really do know that He is nice and loving. It’s just that He’s had a lot of bad days recently.
I: Well, (“BUT”) what’s in your heart’s all that matters ever. In life.
Q: Exactly. Okay. Good night.
I: Good night. (“GO”)
Q: I hope I don’t find any more bells. (“AH HO”)
I: You never know. That’s the third one.
Q: I know. (“OF THE EVENING”)
( . . . )
I: In the movie the location was in Baltimore and then in Philadelphia. They were on their way to Phily on Highway 95 because that’s where Brad Pitt’s character lived, I guess, (“BILLY”) in that mansion. And Phily is where the Liberty Bell is. (“WELL THAT’S AN”)
Q: That’s an all-time major bell.
I: Oh yes. That’s the big bell. (small laugh)
Q: Liberty. (“IN FACT”)
I: For this country, yes.
Q: In fact, what is on this coupon book cover?
I: The Liberty Bell because it’s cracked.
Q: Just like it’s on all those envelopes too.
Q: Just like in that Beatles song about freedom.
I: In the way it’s hanging it looks like it’s a telephone.
Q: What’s that new Beatles song? (“UH”)
I: “Free as a Bird.” (“IT ALL”)
Q: It’s freedom, liberty bells — (“THEY’RE COMING”) Michael, (“JAY”) I hope you’re in a good mood.
I: Isn’t there somewhere in the deluded past ‘life, liberty and the pursuit of happiness’? Didn’t that belong somewhere in history? (“RIGHT” “HHHHHHH”)
Q: But people have forgotten. (“THAT” “UMPF” “EK RIGHT”) So I’m here to remind them.
I: That’s why I said, “As part of the deluded past.” (“STILL”)
Q: Okay. Good night.
I: Good night.
Q: More transcribing ahead.
I: Happy trails.
( . . . )
I: We’re right in front of the Motion Picture Toluca Lake Health Center. I come to the doctors here some time.
I: That’s where you parked your car and found your bell. It’s movies.
Q: What else is new? (“THIS WHOLE”) This whole city is nothing but movies.
Q: What is that beautiful big light in the distance?
I: Maybe that’s an effect over at Universal or something.
Q: Oh, I have to drive by there. Maybe Michael is doing something.
(TRANSCRIBER’S NOTE: I TURNED ON THE RADIO AND RECORDED A PORTION OF THE SONG “IF I FELL” BY THE BEATLES AND TURNED ON THE TAPE RECORDER AGAIN WHEN THE DISC JOCKEY—DESIGNATED AS ‘R’—LISTED THE SONGS PLAYED.)
R: 100.3 and EAZY after hours. Love that one from Mariah Carey — “Dream Lover.” “I’ve Got a Name” from Jim Croce. The Beatles — “If I Fell.” “With You I’m Born Again” — Billy Preston and Serita Wright. Orleans did “Dance With Me” and “Save the Best for Last” from Vanessa Williams. Coming up on 10:52 and I’m Tommy Jackson kicking back with you tonight. Glad you decided to tune in and if you can hang on for a second or two, tell you what — I went back in the music library here. Got the CDS stacked up and we’ll go for it next on EAZY 100.3.
( . . . )
Q: (speaking into tape recorder) With a title like “12 Monkeys,” the film’s post-production coordinator (“UM”) probably is the reincarnation of Darwin. (“UH-HUH”)
(TRANSCRIBER’S NOTE: THE FOLLOWING WAS RECORDED FROM MY PACIFIC BELL MESSAGE CENTER. ‘V’ DESIGNATES PHONE VOICE.)
V: Sent Sunday, January 14th at 6:49 p.m.
(HIGH-PITCHED SHRIEK OR ALIEN TRANSMISSION)
V: Sent today at 6:22 p.m.
W: Mark, this is Ruth. Ruth Webb. I don’t know what the hell time it is here but I really am quite interested in what I heard from Sherri. The best time to get me is between about ten and eleven in the morning because I sleep late. But I’m really quite interested in what you’re saying. So I’ll look forward to hearing from you. And, of course, I love you. I’ve always loved you. I wondered why I never heard from you. But I did over — I — I did feel guilty about overworking you. I didn’t mean to. I don’t leave long notes any more. In fact, I love you very much. So call me in the morning while I’m still in bed because then I’ll pick up the phone and answer and you’ll get me. Lots of love, Ruth.
( . . . )
Q: (speaking into tape recorder) By the way, on the way home, I noticed (“THE”) the big street next to Bonnie Brae is called Temple Street. And there was a beautiful Linda Ronstadt song playing on the radio after I recorded the disc jockey stating the song titles. Michael, why don’t you make up a poem? People would love an original poem by Michael.