 Remember a hallmark card when you'll carry enough to send the very best. Hollywood, the makers of hallmark greeting cards, bring you Van Johnson in John Segers The Long Love on the Hallmark Playhouse. Sweet Hallmark will bring you Hollywood's greatest stars in outstanding stories chosen by one of the world's best known authors. The distinguished novelist, Mr. James Hilton. Good evening ladies and gentlemen, this is James Hilton. Tonight on our Hallmark Playhouse we present our dramatization of a story by John Segers called The Long Love. The coming season of Easter, a happy and a hopeful festival, is an appropriate time to tell the story of a family whose affection deepened and increased with the years, not so much in spite of the troubles that cropped up from time to time as because of them. A happy marriage, Mr. Segers seems to say, is not the one in which the partners merely live happily ever after, but one in which they work together, forging their union out of joys and sorrows alike. To play the part of our hero we have chosen one of Hollywood's most popular young actors, Van Johnson. And now a word about hallmark cards from Frank Goss before we begin the first act of John Segers The Long Love. For every occasion important to your friends and loved ones, there are hallmark cards to carry your thoughts across the miles, across the years, often merely across the way. That's important in these fast-moving days when families and friends are separated on short notice, when a word of thoughtfulness can mean so much. On special days and every day, a hallmark card says what you want to say, the way you want to say it. And that identifying hallmark on the back, as always, says you cared enough to send the very best. Our guest tonight, Van Johnson, is currently starred with Jane Wyman, Howard Keele and Barry Sullivan in the Metro-Goldman Mayor production, three guys named Mike. And now hallmark playhouse, presenting John Segers The Long Love, starring Van Johnson. The gentle hills of Massachusetts warm themselves in the eastern moonlight, and the river winding its way through the town of Chedbury once again sheds its skin of ice. The first robins are sunning themselves on the ancient iron cannon in the middle of Chedbury town square. Across the street, the churchgoers in their Easter best are straggling from the big white building with the graceful steeple. As Edward Haslett lingers on the steps, his eyes go to a slab of grey granite which is set into the foundation of the building. He knows by heart the words inscribed there. Dedicated Easter, the year of our lord, nineteen hundred and eleven. Thirty years ago this Easter, it was a big day in Chedbury. Everybody in town turned out for the placing of that cornerstone. I remember Margaret's father made the dedication speech. That was because he was the most important man around here. The only one with money. In those days, everybody was a little oared by Mr. Seaton and his beautiful daughter, including me. But that didn't stop me from seeing her. Or from asking her to go on a picnic right after that cornerstone was submitted into place, we climbed Strawberry Hill and found the old apple tree already starting into bloom. I'm starving. Let's open the sandwiches. Not yet, Margaret. I want to have it settled once and for all. This is the last time I'm going to ask you. I really believe you mean it. I do. For the third and last time, Margaret, I'm asking you, will you be my wife? You always laugh. Why? What's the matter with me? Nothing. It's me. You're so good, Ned. But I'm not sure about myself. I'll take you as you are. I want a special kind of marriage, Ned. I want it to be fun. I don't want marriage to become a contract. I want it to be free and gay. I can't stand jealousy. And you know I'm jealous. But I'd be jealous of our marriage. I'd fight for it. I'd make it work at any price. You never told me that before. Margaret, listen to me. No, let me say it, Ned. Will you marry me? Margaret. You see, I had to ask it because, well, somehow it makes me feel free. I didn't want to be captured. Oh, my silly daughter. Oh, my dearest. If I had any idea, you would have said yes. Now here I am without an engagement ring. Well, what a sapphire, Ned. A jeweler in New York has it put away for. What? Yes. I paid $25 down on it right after that first time I said I wouldn't marry you. Margaret. I was waiting for you to go up, Ned. And now you have. And now let's eat those sandwiches. She neither thought nor acted like any of the girls I'd ever known. That was the wonderful part about Margaret. And the frightening part too. What did she mean about being free and gay? My mother was one of those who thought she knew. I warn you, Edward, you'll have no happiness with that girl. She's stuck up. She's without proper decency. Oh, now, Mom. Those Seatons don't belong here. They have too much money for the rest of us. Yes, and Margaret will be just like all the other Seaton women. Marriage has never held one of them. Dad, you don't agree with Mom, do you? Our families have got to be friends now. Well, I've never been able to know the Seatons, Edward. Margaret's father makes his money in stocks and bonds in New York. And I'm just a small-town printer. I doubt your marriage will bridge that gap. Well, we love each other. That's bridge enough for me. I suppose you thought about supporting a wife. I have. I want to go into the printery with you. And I'd be happy to have you. But I'm not the only partner you know. That old man made that. I'll talk to him. I'll tell him about my ideas for the printery. Your ideas? Yes, the plan isn't using all its presses, Dad. There's room to print more than catalogs and pamphlets for Boston stores. Edward, your father and Mr. Mather have done very well on catalogs and pamphlets. And they can do still better with books. Books? Yes, books. Publishers. Printing the thoughts and ideas of men all over the country who'd never heard of Chetbury, but who will someday? Son, dreams are one thing, but we must be practical. And I say only dreams are practical. I remember how Margaret's eyes sparkled with excitement and approval when I told her my idea of the publishing business. But when I went to see old Mr. Mather to ask for a job with the printery, he told me I'd applied to the wrong person. He had just sold his interest to Margaret. At first I was dazed, then angry. Oh, I hoped you'd take it this way, Ned. I'd hate for you to marry me for my money. You should have talked it over with me first, Margaret. You didn't even tell my father you were buying you. No, no, no, I won't let you do this. But it's done. Oh, darling, you don't have to be afraid. I'm still dependent on you. More so now that my money is all tied up. I won't be able to buy a ticket to Europe whenever I'm angry with you. Oh, Margaret. Margaret, will I ever be able to understand you? Don't try too hard, dear. Just be a good publisher. So Margaret had her way. And on Christmas Eve, all the hazlets and the sitans gathered together inside the new church. You'll thou love him, comfort him, honor and keep him in sickness and in health. And forsaking all others, keep thee only unto him, so long as ye both shall live. I will. For richer, for poorer, in sickness and in health. To love and to cherish, to beth us to love. And Margaret, you see that he writes to us from New Orleans. Why does everyone in New Orleans seem to stare at us and smile? Because they appreciate beautiful women. And probably because we look so happy. You are, aren't you? So blindly. Oh, we know it can speak, Fetler. I think the South always must have been in my blood. And mine, too. We must never let this excitement die in us. No, no. Promise me, Ned, we'll never settle into a rut and forget that our marriage comes first. Don't worry, darling. I told you I'm a jealous man about us. You do hate me awfully for saying that. I could never hate you. I love New Orleans and the fun we're having. And yet I almost wish that I was back home getting our house ready for us. That's funny. And I was thinking about the printer. Margaret, what do you say? Let's go home and start living. Do we live life or if life doesn't live us? Whichever it is, Margaret and I experienced it all. The joys and sorrows and the times of neither joy nor sorrow. The children came, Mary and Tom and Sandra. My family was growing, but not the publishing business. We've got to give it up, Ed. You've turned out four books and lost money every time. And then the writers stopped submitting manuscripts. They were all in uniform. I'm glad the army won't take you, son. Your father needs you here. Then peace and prohibition and the return to normalcy. Ed, what are we going to take a vacation? Well, maybe next year, dear, right now, Dad needs me at the plant. He's speaking his first piece at school tomorrow, Ned. He wants you to hear. I'm sorry, Margaret. I'm going to be all tied up. Just a few days in New York, dear. Maybe next winter, dear. Right now I've got a new book to get out. This is the big one I've been waiting for. It was a book of war experiences. The first novel of Lewis Harrell. Almost overnight, he was famous. And the firm of Haslitt and Sun Publishers was on its way. Yes, dear. Couldn't we spend an evening just talking? I'm reading, dear. Oh? The beginning of Harrell's new manuscript? Yes. I like what I've read of it. How old is this writer, Ned? Oh, he was in the war. He must be fairly young. Oh, he lives in New York? Yes. I'd like to meet this Lewis Harrell. Maybe you will. You could invite him up to Chesbury to sign the contract. As a matter of fact, I have. What is it you like about his writing? He has a quality. Something free and gay. And yet almost violent. Margaret, I'm not so sure I like this interest about Harrell. Up with me. Have you ever talked like this before? What is it? What's happening to us? I don't know. I'm not sure. We could only go back. Back to what? Twelve years ago. Easter. We were on Strawberry Hill. There was something about that day. Everything seemed so right. Everything was possible. That morning in church, the minister was telling us that Easter was a new birth of hope, a new beginning of life. It was just as if you were talking right to us. And darling, I felt that our lives were beginning. And then later up on the hill. Oh, Ned, maybe it's not too late. We can never go back, Margaret. We shouldn't want to. We can live that Easter always. Everything can be right and possible so long as we love each other. And I do love you, my darling. I love you. In just a moment, we'll return to the second act of the long love starring Van Johnson. You know, there's a fascinating history surrounding the word hallmark that has its parallel in the public's preference for hallmark cards today. It started about eight centuries ago when the silversmiths of England used silver or gold, on which a group of men worked. Until then, a cup or a vase or any article was the complete work of one man, and he was responsible for its artistic design, as well as the purity of the metal itself. But with many different artists contributing special talents to a design, it soon became necessary to have laws to assure that the proper amount of gold or silver would be used in an article. And so in the reign of Edward III, the hallmark law was passed, requiring that every silversmith identify hallmark. The hallmark of a particular group became famous and respected in direct proportion to the skill and artistic abilities of the people who made it. And today, collectors of old English silver can quickly judge the worth of a piece by looking for the hallmark on the back. Also today, discriminating people recognize hallmark on the back of a greeting card, because they have found through the years that hallmark on the back of a card has a meaning of its own. It represents the skill of craftsmen who for years have designed greeting cards with but one thought in mind. To give you a card, you'll be proud to send and one that will be received with pleasure. Because it says what you want to say, the way you want to say it. Because the message is surrounded with beauty and presented with the good taste you demand of anything that bears your personal signature. That's why hallmark on the back of a card has come to mean you cared enough to send the very best. Now back to James Hilton for the second act of John Sedger's The Long Love, starring Van Johnson. Mr. Sunday's services are over and the people of Chedbury are drifting homeward. Edward Haslett still stands there on the church steps. His tears are to gray slab of granite he's cried with a few words and he remembers. We were married here. Our children were baptized at the fount just inside those doors. This building means a lot to me. Though for a time everybody thought it was because I published those books of Lewis Harrow. Oh yes. He was a troublemaker from the day he came to our house. This is Lewis Harrow, dear. Harrow, my wife. I hope you don't mind my saying you're beautiful, Margaret. Well... No, not at all. Harrow? How did you know her name was Margaret? I know a lot of things, Ed. You feel you've seen me before, don't you? Oh, my wife or I? Both of you. I feel you're wondering. Oh, nonsense. It's my business to feel what people are thinking. Well, you have seen me before. Well, Mr. Harrow? Right here in Chetbury. Wait a minute. There is something about your face. Yes, you used to see it all the time. It was generally dirty like the laundry. Our old laundry? You're her son, you used to bring him a basket. Well, now explains it. I watched all your lives through the back doors of your houses. Even yours, Margaret. Well, I... I'm afraid I made a very dull subject. Not to me. You were always something fine. Something... I hope to know better someday. And now... Well, now I've come home. Out of all the possible publishers, you sent your manuscript to us. You chose us purposely, didn't you? The hometown boy has his revenge. Chetbury was pretty cruel to the boy from the wrong side of the track. The cruelty may have been in your own mind, you know. Perhaps. Anyway, it's my turn now. In my next book, I'm going to let fresh air into this place. Now, show up all the smugness and the snobbery. All you people are afraid to live. Afraid to feel fire in your veins. What makes you think we're afraid to live? You don't really want me to answer that, do you? Power in the man that made me uneasy. For myself and for Margaret. Something was going to happen. I could feel it coming. Within a month, Harold finished his new novel. As I read the last 75 pages of the manuscript, I was first surprised and furious. He had added a new character, a woman. A woman I recognized as Margaret. I sent for him at once. All right, all right. I admit it. I patterned her after your wife. You've got to drop her out. I won't publish it this way. I won't change your words. Listen to me, Harold. We didn't ask you into our lives. You can't come here to destroy. I won't let you. To destroy what? Your illusions, your stupidities? Go on, show me one single word of mine that hurts Margaret. That's beside the point. You are her husband and yet you seem to know her better than I do myself. That's a pretty sad confession to make, Ed. Don't twist my words. Ed, I worship Margaret. Yes, yes. I said worship. Because she's something I... I had hoped there might be in the world. Something I've never had. Something I'm grateful to know exists. That's what I was trying to say in the book. But don't be a fool, Ed. Don't try to own her. No man can. She's an eagle that will fly at the sight of your net. Ned, Lewis, you're not quarreling. It's all right there. I'll talk to you tomorrow, Ed. Goodbye, Margaret. It was about me, wasn't it? Oh, he's put you in that book of his. I see. Are you in it? Yes, I'm in it, too. He's made me out to be... Oh, well, it doesn't matter. It's not very flattering and I refuse to publish it. Why? Why? Margaret, don't you realize? Harrow is in love with you. That doesn't bother me. It doesn't. Ned, I want you to publish that book. Never. Harrow may be right about us. Ned, you are afraid that's something I can't live with. Margaret, you are in love with Harrow. No. A marriage can't be wrecked from the outside. It crumbles from within. We can't be held together by a contract, Ned. They have to be through freedom. How freedom to love each other without fear and without jealous. All right, I am jealous. From the very start I felt so lucky to have you. That's why I worked so hard at the business. I wanted to give you money and the things that would show my love. I wanted the world to know you were mine. And you shut me in. I've been your prisoner. Oh, Ned, I don't want you to be my jailer. Help me to break free again. That seems to be Harrow's job. You still don't understand, do you? I was interested in Harrow at the start because he lives life. He knows freedom. I wanted me to remind you of all the things we've forgotten. But you didn't remember and that frightened me. He hasn't been Harrow frightened me. Oh, darling, he was like the ghost of our old days. All our plans and our hopes. All the things that we did and promised each other on our honeymoon in New Orleans. It's strange, isn't it? Another man's love for you has made my own stronger and better. I wanted to hear. I'll publish Harrow's book. I owe it to him now and after that, my dearest. And let's run away and find ourselves again. We went to Italy to Venice. We spent long, lazy, wonderful evenings in our balcony overlooking the Grand Canal and the gliding shapes of passing gondolas. Can you hear it, Ned? Yes. Coming from that gondola over there, I think. No, no, I mean the streetpear. Streetpear? Dear, this is Venice. And I'm back in New Orleans. Oh, remember the funny little old man who was so watermelon, watermelon red to the rind. If you don't believe me, just pull down your blinds. I sell to the rich. I sell to the poor. I'm going to sell the ladies standing in that door. Oh, I remember. Open this. Do you know why I'm so happy? I think so. Because we've learned that it isn't New Orleans or Venice. Our honeymoon is a state of mind and we've got it back. It's here in our hearts. A long time ago in New Orleans, I said something it's time to say again. Let's go home and start living. Not long after that, Dad died. And then it was simply Edward Haslett publisher. Every couple of years, there was a new bestseller by Lewis Harrow. He covered everything. The stock market crashed, the depression, the recovery. The children are no longer children now. Sander went into medicine and Mary was engaged to one of my young authors. And there was Tom, my only boy. Tom just phoned from college. He's graduating at the head of his class. Well, in a way, dear, I'm not surprised. Maybe it's something else. He says he isn't going on to New York. He's coming home to stay. You know, my dear, when I took that sign down over the plant, I hoped someday it would go up again. Haslett and son publishers. Looking out here, dear, the minister wanted to talk to me about some committee work. Yes! You are impatient with me. Dear, I'm afraid I was just wool gathering. I was looking at the cornerstone over there and remembering. Why, it's 30 years ago this Easter. You haven't forgotten. How could I? The dedication of the church. The picnic on Strawberry Hill. It seemed such a little while ago. Just yesterday. You know, while I was waiting here, I was watching the young people come out of the church. I kept wishing I could tell them, oh, by the way, dear, would you like to take a little walk? I'd love to. After all, it's Easter. I should promenade with my best bull. Now, what did you want to tell the young people? Oh, they'll learn it all by themselves. That the things they worry about now and think so important won't really matter in the end. We've learned a lot of things in 30 years. That life is something like Easter. Easter means a new beginning. And Easter is every day. If you haven't already selected Easter cards for all the folks you want to remember, you still have time to do so between now and Sunday. At the finest stores across the country, you'll find hallmark Easter cards that say what you want to say. The way you want to say it. Cards with words so expressive of your feelings, your friends will imagine they've had a personal chat with you. Cards with colors and designs as fresh as springtime itself. Cards that express the deep spirits will joy of Easter. Cards that tell your friends and loved ones you remembered and wanted to share the happiness of Easter Sunday with them. Tomorrow when you're looking for cards, remember to look for that distinctive hallmark on the back of the card you select because on Easter, as always, you'll want your friends to know you cared enough to send the very best. Here again is James Hilton. It was grand to have you with us this evening, Van Johnson. Thanks for a first-rate performance. Thanks for inviting me, Mr. Hilton. I feel that I learned something, too, because I'd never heard the history of hallmarks explained as well as Frank Goss did it tonight. And I was glad, too, of the reminder about Easter. Because I remembered some folks that I want to send some hallmark cards to myself. I hope you have a happy Easter, Mr. Hilton. Thank you, Van, and on behalf of everyone in the Hallmark family, I should like to send Easter greetings and the hope that you and all your friends will have a fine holiday. Thank you, Mr. Hilton. What story have you got selected for next week's show? Next, we shall present Margaret Irwin's Elizabeth Captive Princess, the true story of a future queen who was once in prison in the Tower of London. And to play the role of the young princess, we shall have that brilliant young actress and this year's contender for the Academy Award Anne Baxter. Our hallmark playhouses every Thursday. Our director-producer is Bill Gay. Our music is composed and conducted by Lynn Murray and our script tonight was written by Leonard Sinclair. Until next Thursday then, this is James Hilton saying, good night. There are so lonely in stores and carefully selected to give you expert and friendly service. Remember a hallmark card when you carry enough to send the very best. The role of Margaret tonight was played by Lorraine Tuttle. Gerald Moore was Lewis Harrow and others in our cast included Margaret Brayton, Ted Osborne, and Peter Leeds. This is Frank Goss saying, good night to you all until next week at the same time when Hallmark Playhouse returns to present Anne Baxter in Margaret Irwin's Elizabeth Captive Princess. And the week following, Blanche Henry Perrin's rest and be thankful. And the week after that, Lori Hillier's Time Remember on the Hallmark Playhouse. This is KMVC Kansas City, Missouri.