Everyman's Theatre 40-12-20 (12) The Women Stayed at Home

Summary

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Podcast Summary: Harold's Old Time Radio

Episode: Everyman's Theatre 40-12-20 (12) The Women Stayed at Home
Air Date: September 22, 2025
Host: Harolds Old Time Radio
Featured Play: Written by Arch Oboler; starring Norma Shearer

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Episode Overview

This episode features a classic radio drama, “The Women Stayed at Home,” originally broadcast in 1940 as part of Everyman’s Theatre. The story, created by Arch Oboler and performed by Norma Shearer, uses sweeping music and the intimacy of radio to explore the loneliness, inner turmoil, and resilience of a woman during wartime, focusing on themes of grief, forbidden love, and the human cost of conflict.

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Key Discussion Points & Story Breakdown

1. Setting the Scene: Loss and Isolation

• [02:21] Celia’s Solitude:

  • Celia Harris recounts her life of loneliness on a windswept coast after the deaths of her parents.
  • Quote: “Lonely. Yes, I was lonely. And I did what I did because I was lonely, I can tell you.” (Celia Harris, 02:21)
  • The isolation is palpable as the sea, wind, and gulls become her only companions.

• [04:18] Meeting John:

  • John Clark, a fisherman, arrives in the village, sparking new hope and romance for Celia.
  • Quote: “Celia. There’s a name. Yes. From a boat.” (John Clark, 04:46)
  • Their whirlwind romance provides Celia with happiness and belonging for the first time.

2. Grief Strikes Again

• [07:17] John’s Death:

  • After just a short time together, John drowns at sea, plunging Celia back into despair.
  • Quote: “He said that to me, but in a fortnight he was dead.” (Celia Harris, 07:17)

• [08:18] The Widow’s Loneliness:

  • The repetitive nature of grief and emptiness is reinforced.
  • Quote: “A day and a night. A day and a night. One after the other. An empty day after an empty night.” (Celia Harris, 08:18)

3. War Begins: Hope for Purpose

• [09:42] War Announcement:
  • News of war reaches the village, and Celia’s initial reaction is hope for purpose and distraction from her grief.
  • Quote: "If war had come, there'd be... something for me to do." (Celia Harris, 09:42)
  • But she's told, “Sorry, widow Clark, but there’s nothing for you to do.” (Village official, 09:56)

4. A Life-Saving Encounter

• [10:19] Suicidal Despair Interrupted:

  • Planning to end her life, Celia finds a drowning man—Carl, a wounded enemy soldier.
  • She saves him, and the act renews her sense of compassion and responsibility.

• [12:37] Realization of the Enemy:

  • Discovering Carl is “the enemy,” she struggles with her duty but delays reporting him.
  • A bond forms as she cares for and teaches him English.

5. Unlikely Connection and Growing Love

• [14:23] Teaching Carl:

  • They form a close relationship during his recovery.
  • Quote: "I am Carl. You are Celia." (Carl, 14:44)

• [15:13] Celia Realizes Her Loneliness Has Ended:

  • For the first time, she’s no longer alone: “…someone to talk to, to listen to, to laugh with. To…” (Celia Harris, 15:13)

6. The Threat from Outside & The Final Choice

• [16:50] An Unexpected Visitor:

  • The village presents Celia with a chance to teach children as her new purpose ("your duty in this war" [Mr. Stanford, 17:28]), forcing her to leave Carl alone and heightening the tension of his discovery.

• [18:31] The Community vs. the Individual:

  • Down in the village, collective grief and anger intensify (“They, they, they. The enemy.” 18:36), but Celia clings to Carl’s humanity, refusing to see him as the enemy.

7. Love and Sacrifice

• [20:21] Confession and Soul-Baring:

  • Carl expresses regret and admiration for Celia’s people; they confess their love.
  • Quote: “So the hate is not ours. Not yours, not mine.” (Carl, 20:38)
  • Quote: “I love you, Carl. I love you, Carl. So I said it. And his arms came close around me…” (Celia Harris, 21:22)

• [22:40] Carl Leaves for Celia’s Safety:

  • Understanding his presence puts Celia at risk, Carl disappears. Celia, though devastated, understands his sacrifice and hopes for peace and reunion.
  • Quote: “He’ll come back to me. And I’ll never be lonely anymore.” (Celia Harris, 24:12)

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Notable Quotes & Memorable Moments

• On Loneliness:
  • “When you’ve had nothing, all right, you know nothing. But I’ve known something now… I was alone again. A day and a night. A day and a night.” (Celia Harris, 08:19)
• On War and Emptiness:
  • “War means something to those who have something to live for, to fight for. But when you have nothing. Empty days after empty nights…” (Celia Harris, 10:25)
• On Humanity Over Nationality:
  • “He was no enemy to me. Just Carl. And his eyes were blue, and his face was gentle.” (Celia Harris, 16:32)
• On the Futility of Hate:
  • “And so the hate is not ours. Not yours, not mine.” (Carl, 20:38; repeated, 24:03)
• Closing Hope:
  • “It will end. He'll come back to me. And I'll never be lonely anymore.” (Celia Harris, 24:12)

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Key Timestamps

| Time | Event | |-----------|----------------------------------------------------------| | 02:21 | Celia recounts her loneliness | | 04:18 | Celia meets John | | 07:17 | John’s death | | 09:42 | News of war reaches the village | | 10:19 | Celia attempts suicide, finds Carl | | 12:37 | Celia realizes Carl is “the enemy” | | 14:23 | Celia teaches Carl English | | 16:50 | Unexpected visit—village interrupts | | 18:31 | Tensions in the village intensify | | 20:21 | Carl and Celia confess their love | | 24:03 | The futility of hate is verbalized | | 24:12 | Celia's hope for peace and reunion |

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Episode Tone and Style

Faithful to the melodramatic, emotionally rich style of 1940s radio drama, the story unfolds through Celia’s intimate narration and atmospheric music. The dialogue is at once poetic and direct, capturing both longing and restrained hope. The performance by Norma Shearer is especially stirring, delivering the emotional highs and lows with sincerity and gravitas.

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Takeaway

“The Women Stayed at Home” is a poignant war story told from the perspective of those left behind. It delves into deep loneliness, the struggle for meaning, and the redemptive, transformative power of empathy—even in “the enemy.” The episode artfully explores the blurred lines of allegiance, ultimately asserting the universality of love and loss.

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Transcript

[Celia Harris]

Hey, this is Sarah. Look, I'm standing out front of a.m. p.m. Right now and, well, you're sweet and all, but I found something more fulfilling, even kind of cheesy. But I like it. Sure, you met some of my dietary needs, but they've just got it all. So farewell, Oatmeal.

[Narrator/John/Carl/Other Male Characters]

So long, you strange soggy. Break up with bland breakfast and taste AM PM's bacon, egg and cheese biscuit made with Ktree eggs, smoked bacon and melty cheese on a buttery biscuit. AMPM Too much good stuff. In those early years of the European conflict, vague rumors of atrocities had begun. But who could believe, could possibly believe in the safety of our homes that soon there would be ashes of men, women and children sifting out of the crematoriums? And so I and Norm Shearer, the premier actress of the time at MGM Studios. The two of us did not hate Every Man's Theater Written and created by Arch ober. Oxidol presents Ms. Norma Shearer in a thrilling love story. The women stayed at home with the special symphonic accompaniment of Wagner's Deathless Love Music Tristan and Isolde. And here is our writer creator, Arch Ober, who will introduce tonight's play. The scene. A windswept coast. It is night. For once the sea is calm. It waits ominously upon the edge of shore where sit the woman and an old man. For a long time they've sat quietly. And now the woman speaks to the old man. And her words lift out to the sea on the rush of the wind.

[Celia Harris]

Lonely. Yes, I was lonely. And I did what I did because I was lonely, I can tell you. This is a quiet place my father built here because he and mother had each other. And they wanted the lonesomeness. The village over there and we away from all the rest. My father wanted it that way. When I was very young, it was all right. I could run with the other children, it was all right. But when I grew older, it was lonely. The sea, the wind, the gulls flying. Is that enough for a girl? Yes, I was very lonely. Father died at sea. A storm. His boat. Then Mother. For the first time, I really was alone. People who have nothing remember the little things they've had, don't they? I remember things so clearly. The way the clouds were. One day when the sun went down. A boat that stood out on the horizon. And then in a second way, under the way. So many of know. Why talk of that? I'll tell you of John. He came to the village a month after Mother died. He had a pack on his back and a smile that lifted the heart. I met him right where we sit.

[Narrator/John/Carl/Other Male Characters]

Hello, girl.

[Celia Harris]

Oh.

[Narrator/John/Carl/Other Male Characters]

Oh, I'm sorry if I startled you.

[Celia Harris]

I. I didn't know that.

[Narrator/John/Carl/Other Male Characters]

Yes, I know. But mother used to say it of me, too. I had to walk like a cat on tiptoe. Ah, it's a pleasant day.

[Celia Harris]

Yes, isn't it?

[Narrator/John/Carl/Other Male Characters]

Where are you from?

[Celia Harris]

That house.

[Narrator/John/Carl/Other Male Characters]

Oh, it's a strange, lonely place to build a house, isn't it?

[Celia Harris]

Yes.

[Narrator/John/Carl/Other Male Characters]

May I tell you my name? It's John Clark.

[Celia Harris]

How do you do?

[Narrator/John/Carl/Other Male Characters]

Would you tell me yours?

[Celia Harris]

Celia Harris.

[Narrator/John/Carl/Other Male Characters]

Celia. There's a name. Yes. From a boat.

[Celia Harris]

What?

[Narrator/John/Carl/Other Male Characters]

Oh, I beg your pardon. It's your name, isn't it? I've no right to use it.

[Celia Harris]

You said a boat.

[Narrator/John/Carl/Other Male Characters]

Yes. Yes, my boat. I'm going to make a living at fishing. That's why I came here. And I've got a new boat. Well, not exactly new. And I. I've been beating out the inside of my head trying to think of a lucky name for it. Celia. Ah, it's a lovely name. Do you mind if I tell you that? Do you?

[Celia Harris]

I didn't mind. I didn't mind anything. He told me the village was so happy the day we married. It's good to remember.

[Narrator/John/Carl/Other Male Characters]

See you.

[Celia Harris]

Yes. Darling.

[Narrator/John/Carl/Other Male Characters]

How's the chance?

[Celia Harris]

What?

[Narrator/John/Carl/Other Male Characters]

To get away from them.

[Celia Harris]

Oh, but, Josh.

[Narrator/John/Carl/Other Male Characters]

Now, quiet. I'll slip easy as a ghost round the corner. Now, come on.

[Celia Harris]

Run. Oh, they'll never forgive us.

[Narrator/John/Carl/Other Male Characters]

Go on now. It's the dancing and the drinking that they're after.

[Celia Harris]

Now, come on. I can't. I can't.

[Narrator/John/Carl/Other Male Characters]

Yes, you can. Zill.

[Celia Harris]

Come on now. Oh, no, John. No.

[Narrator/John/Carl/Other Male Characters]

Why?

[Celia Harris]

I can't. Not another step. It's beating so. My heart.

[Narrator/John/Carl/Other Male Characters]

My heart.

[Celia Harris]

John.

[Narrator/John/Carl/Other Male Characters]

Oh, I want you.

[Celia Harris]

I'm yours.

[Narrator/John/Carl/Other Male Characters]

Always mine. Always mine.

[Celia Harris]

Always mine. He said that. Always mine. Tell me, how long is always? Is always the moment he held me. And his lips were tight on mine. And his arms held me. And he. No. Why should I ask? I really know. Always with him was that night. Because the next night.

[Narrator/John/Carl/Other Male Characters]

Pass off.

[Celia Harris]

Go.

[Narrator/John/Carl/Other Male Characters]

Stop. See ya. Goodbye, darling. I'll be thinking about you. I'll bring a good catch home for you. I'll see you in a fortnight, darling. Just in a fortnight.

[Celia Harris]

He said that to me, but in a fortnight he was dead. I think it. I can't say it. It's been so long. And yet I can only think it.

[Narrator/John/Carl/Other Male Characters]

Dead.

[Celia Harris]

Do you know what that means?

[Narrator/John/Carl/Other Male Characters]

We have come here to say the last words for the Soul of the one whom the sea has taken to the Lord. Goodbye, John Clark. The Lord, in his wisdom has buried you in the boundless grave of the ocean. We bow our heads and we weep our tears. We have the memory of you.

[Celia Harris]

Do you know what that meant? I was alone again. Yes. Alone again. The widow Clark.

[Narrator/John/Carl/Other Male Characters]

The widow Clark.

[Celia Harris]

I ran from the village back up the long path to my house. And all the way it was tearing in me. I was alone again. Alone again. But a new loneliness. A horrible loneliness. When you've had nothing, all right, you know nothing. But I've known something now. His look. His laugh. His lips. His arms. The crush of his arms. I was alone again. A day and a night. A day and a night. One after the other. An empty day after an empty night. That's what was ahead of me. And that's what I had. An empty day and an empty night. An empty day and an empty night. Over and over and over. And there was no end. There could be no end until there was an end of me. No end to it until there was an end of me. And then I heard it from Dafar down the village. I couldn't quite understand. One of the men waving his arms at me and shouting, war.

[Narrator/John/Carl/Other Male Characters]

We'd. War.

[Celia Harris]

War. War. But everybody had said, but wait. If war had come, there'd be. There'd be something for me to do. Yes. Fill the emptiness in me with something to do. Yes.

[Narrator/John/Carl/Other Male Characters]

I'm sorry, widow Clark, but there's nothing for you to do. Everything's been taken care of in the proper manner. Sorry, widow Clark. There's nothing for you to do.

[Celia Harris]

Nothing for me to do. Nothing for me. Nothing for me.

[Narrator/John/Carl/Other Male Characters]

Navy blockades of you are evil. Naval submarines. Army, Navy, Army, Navy.

[Celia Harris]

But nothing for me. War means something to those who have something to live for, to fight for. But when you have nothing. Empty days after empty nights. Over again, over again and again. I began to think. No end to it until there is an end to me. Why not walk into the sea? Let the sea fill my emptiness, cover my loneliness? Why not? Why not? I left the house and walked toward the sea. The sand crushed beneath my feet the way it did that night. That night he ran with me. The water was dark. I was at the edge. And into it. Deeper and deeper into it. Cold against me. Cold as the days and nights. But this coldness would end. And with that ending put a finish to the ache in me. And then something touched me. Me. I looked down, white in the water. A hand John. The thought echoing in my head. And Then. No. No. A stranger. Someone. I dragged him out of the water to the beach. A stranger drowned in the sea. Dead, yes. But no. My ear against the wet of him. His heart, yes. The beat of it faint. But the beat of it dragged him. Carried him to the house, warmed him, hour after hour. And slowly the beat lifted with the blood in him, stronger and stronger. Morning. He opened his eyes in the first light of the sun. I saw they were blue. As blue as John's had been.

[Narrator/John/Carl/Other Male Characters]

Muzzard.

[Celia Harris]

His first words. What? Who? I ran to where I'd thrown the clothes, the buttons, words on them. He was. He was the enemy. The enemy. I knew what I had to do. Go down to the village, say, listen, everybody. A man from an enemy boat caught him. Come and get him. An enemy. Come and get him. I went back to where he lay. He was sleeping now. Sleeping. I looked at him. Something twisted in my heart. He slept the way John slept that night. Head in the crook of his arm, sandy hair curling down on her forehead, smooth and brown. He slept that night. Listen, everybody. An enemy. Yes. I must tell him. I must. He slept. Woke for a few hours, then slept again. Let him sleep. I told myself there'd be time to tell them to my tomorrow. But I didn't tell them tomorrow. He was sick. I had to make him well. Then I would tell them. How many days went? I don't remember. All I remember is moments.

[Narrator/John/Carl/Other Male Characters]

But.

[Celia Harris]

What did you say? But no, no, that's a bird. Bird.

[Narrator/John/Carl/Other Male Characters]

Bird.

[Celia Harris]

That's very good. Pretty bird.

[Narrator/John/Carl/Other Male Characters]

Pretty bird. Pretty bird.

[Celia Harris]

So I began to teach him how to speak my language.

[Narrator/John/Carl/Other Male Characters]

I? You. Me?

[Celia Harris]

Why not? I wanted him to speak the way I did in the prison camp. It would help him to know our language. So I taught him sleep.

[Narrator/John/Carl/Other Male Characters]

I am Carl. I am Carl. I am Carl.

[Celia Harris]

Good. Good. Now try something else.

[Narrator/John/Carl/Other Male Characters]

I am Carl. You are. You are Celia.

[Celia Harris]

Say, how do you do, Celia?

[Narrator/John/Carl/Other Male Characters]

How are you do, Celia?

[Celia Harris]

No, no. How do you do?

[Narrator/John/Carl/Other Male Characters]

How do you do, Xavier? I am Carl. I am Power.

[Celia Harris]

Soon he was well enough to be up and about. I gave him a suit of John's to wear. He would sit in the window looking out of the sea. And I would work and listen to him. It was good. It was good to know that someone was there. Suddenly I realized something. I wasn't lonely anymore. Not lonely. Can you understand what that means? To have had nothing. And then. Then to have something. Something. Someone to talk to, to listen to, to laugh with. To.

[Narrator/John/Carl/Other Male Characters]

Naval battles. Submarines. Army. Navy. Army. Navy. Army. Navy.

[Celia Harris]

But I had to tell them I had to. Had to. And then I began to ask myself why? What had I to do with war? What did I to do with enemies?

[Narrator/John/Carl/Other Male Characters]

Sorry, Widow Clark, there's nothing for you to do. Everything's been taken care of in the proper manner. Sorry, Widow Clarke, there's nothing for you to do. Cecilia, you are very good to me.

[Celia Harris]

He was no enemy to me. Just Carl. And his eyes were blue, and his face was gentle. And when he smiled, his lips. No. How could I tell him? And then it happened.

[Narrator/John/Carl/Other Male Characters]

Senior, Who? Who is there?

[Celia Harris]

I don't know. No one ever comes up here.

[Narrator/John/Carl/Other Male Characters]

You must answer.

[Celia Harris]

Hide.

[Narrator/John/Carl/Other Male Characters]

No trouble. The police, they'll take Hide, I tell you.

[Celia Harris]

Quickly.

[Narrator/John/Carl/Other Male Characters]

Well, well, well. I begun to wonder if you were home.

[Celia Harris]

Oh, Mr. Stanford. What? What do you want?

[Narrator/John/Carl/Other Male Characters]

Want? Now there's a question. Climb all the way down that infernal path and you look at me as if I brought you back bad news. Well, I don't, and that's a fact. Well, I'll tell you plain enough. A chance to do your duty. Yes, and I'm the one who's fixed it for you.

[Celia Harris]

What?

[Narrator/John/Carl/Other Male Characters]

What? Have you no other word but what? Your duty in this war, of course. The district teacher's off to join his regiment. You come down to the district schoolhouse three times a week and teach the children. A chance to do your duty, Widow Clark. For God and country.

[Celia Harris]

For God and country. Teach the children. Come down to the schoolhouse. Leave him.

[Narrator/John/Carl/Other Male Characters]

I will be all right, Celia. Go. I will be all right.

[Celia Harris]

So I went down to the village again and heard of many things. Down in the village, they're drowning all men.

[Narrator/John/Carl/Other Male Characters]

They're punching the lifeboat in the light.

[Celia Harris]

They, they, they. Oh, yes, the enemy. Drowning and bombing and killing. They, they, they. The enemy. All day long, all I heard the enemy. I climbed the path back to the house at sundown, he was waiting.

[Narrator/John/Carl/Other Male Characters]

Celia. I'm very happy to see you.

[Celia Harris]

I said nothing. What could I say? We ate. It grew dark. He didn't speak again, just looked at me. And then suddenly it was as if he were gone. As if I had told them and he'd been taken away. I was alone again. Alone again and lonely. No one near me. No one to talk to. The emptiness of the days again. Oh, no, I couldn't go back to that again. I couldn't. The next day, down to the village again. I wouldn't listen this time, I told myself. But in the schoolhouse, my brother, ma'.

[Narrator/John/Carl/Other Male Characters]

Am, on the boat they torpedoed yesterday.

[Celia Harris]

They killed my only brother, man. They again. They again. They again. And Rowdy.

[Narrator/John/Carl/Other Male Characters]

Our men, they are killing our soldiers. They're killing our father.

[Celia Harris]

No. No. I ran. I ran away from them. They. They. No more days. He was only one. Only one. And he was in my house and he was in my heart. All right, I said it. He is my heart. He spoke to me that night.

[Narrator/John/Carl/Other Male Characters]

Celia. Celia, I. I want to say something to you. Please.

[Celia Harris]

Yes, Carl.

[Narrator/John/Carl/Other Male Characters]

You. You are not happy.

[Celia Harris]

No.

[Narrator/John/Carl/Other Male Characters]

It is me. I know. I. I'm.

[Celia Harris]

Carl, please.

[Narrator/John/Carl/Other Male Characters]

If I could speak well enough to tell you that all these days I've been with you, I've been thinking and I have been learning that what you and your people think is right. And because it is right, it will live. I know that now. And so the hate is not ours. Not yours, not mine. Oh, Carl, see you. Not yours. Not mine.

[Celia Harris]

I love you, Carl. I love you, Carl. So I said it. And his arms came close around me. And there was no earth or sky or death. The days after that, days that stood still in wonder and then in rush, were gone. Warm days, lazy days, Wonderful days. Days when the sky reached down and lifted us up to the clouds. And we. Oh, calm, calm. And then the new day. A morning sun awakened me. Stretched out my hand. Carl. No. Carl. Carl, where are you? Carl, where are you? Carl. Gone. Gone. I cried. Not very long. You see, I understood. Always in our days together, there'd been a cloud. And with each passing day, that cloud would have grown larger and larger. Until there was no warmth of sun for us. The cloud of fear. Fear that someone of the village would see us, See him. And seeing him end my world for me. And he knew that. And so he went away. Where? I don't know. I like to think he took a boat during the night and. And sailed out to sea in it. Back to where he came from. Back to his small village by the cliffs. I like to think that. I know someday the fighting will be over. It must end. He said it.

[Narrator/John/Carl/Other Male Characters]

And so the hate is not ours. Not yours, not mine.

[Celia Harris]

It will end. He'll come back to me. And I'll never be lonely anymore.

[Narrator/John/Carl/Other Male Characters]

This is Arch Ober. Tonight it has been a great privilege to bring you Nora Mashear in my play. The women's state at home. All of us here, and I know you out there are grateful to Mishear for her stirring performance. With Mishear were Hans Conreid and Howard Duff. The special arrangement of Wagner's training Stanley solely was arranged and conducted by Gordon Jenkins.