Original subtitles

Mother

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>> [music]

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>> First

>> [music]

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>> I think it helped.

That article appeared in the Daily

Express, Lord Beaverbrook's newspaper.

>> Oh, thank you.

>> Thank you, Miss B.

>> Thank you.

The old boy thought the one about

cabinet minister's wives was going a bit

far, so I sold it to the Daily Mail

instead.

>> Debunking celebrities seems to be your

ruling passion, Miss Graham.

>> Well, it sells newspapers, doesn't it?

>> This one has a kind of broad appeal to

it. Given a choice in these hard times,

would a wife take a car or a baby?

>> A car, of course.

Stage Door Johnny's by a London chorus

girl. Don't tell me you were a chorus

girl, too, Miss Grant.

>> I couldn't very well have written that

article if I hadn't been, could I?

>> I thought you said that you uh I mean

that you were born.

>> Oh, well, even a duchess can join the

chorus if she has the legs. Mr. Wheeler.

No, I just went in to get background for

my story. That's all. Funnily enough,

that's where I met Lord Donagle.

>> Who's he?

my fianceé, the Marquis of Donovan. He

came to the show one night and without

even knowing who I was, he sent a note

round afterwards. As a matter of fact, I

really felt rather proud of myself. I

let him take me out to supper and of

course when he found out who I was, he

thought the whole thing was a huge joke.

>> And are you still going to marry Lord

Donal?

>> Certainly eventually.

Uh his mother is the one I can't

stomach. the old Daaja Martianess. So

Don thought perhaps a few months in the

states sort of cool off a bit, you know,

and uh when I meet her again, perhaps

I'll find I don't mind her so much.

So you see, I do hope you can find

something worthwhile for me here, Mr.

Wheeler.

>> Get me Fred Johnson at the mirror.

>> Yes, sir.

You certainly write a good story, Miss

Graham. Johnson is the managing editor

of The Mirror. They take a lot of our

features.

Fred, is it hot enough for you? Listen,

I have a girl here. A lady.

That's what I said.

>> Who? Sheila Graham.

>> Yes, John. Yeah.

No, I've never heard of her.

>> You will hear of her, Fred.

And another thing, this girl knows

everybody. Friend of Lord Beaverbrooks.

Everybody under the sun. Prince of

Wales.

Certainly she does.

>> Read all about it. Mrs. Wallace Simpson

granted divorce paper. Rebel Plains.

Bomb Madrid. Read all about it. New

feature starts today. Rachel Graham's

column is marriage obsolete.

>> Sheila, my love, my wife called me and

said that if I ever mention your name in

our house again, she's calling a lawyer.

>> You mean your wife read the story?

>> Sheila, everyone's wife has read the

story. I'm having trouble with mine

convincing her I didn't do the

>> Here comes John. Be brave now, Sheila.

And if you need any help,

>> don't call us.

>> Woody, Frank,

>> how are Well, uh, we have to catch a

train. Merry Christmas.

>> Merry Christmas, John. Merry Christmas.

Merry Christmas.

Merry Christmas, John.

>> I trust it will be a merry one.

>> This is quite a story, Sheila.

Unfortunately, it is in an opposition

paper.

>> Well, I did offer it to the mirror

first.

>> Who cheats the most in marriage? I see

you have the English as odds on

favorite.

>> Well, I do know them best. You know,

>> Germans are too stodgy. Frenchmen make

no secret of it.

>> If it were not for the fact that the

main occupation of American women is

alimony, Americans would cheat the most.

>> That's the real reason Johnson fired me.

He's paying three alimmonies.

>> Well, I must say you do sell newspapers.

>> I warned you I would.

>> Sheila, I have a little Christmas

present for you.

a year's contract.

>> Well, thank you, John,

but I'm not sure. I've had a letter from

Donnagle begging me to go back.

>> I'll terminate the contract the day you

get married if that's what's bothering

you. Oh,

>> no.

>> Meanwhile, I'll raise your salary.

>> By how much?

>> Double what you got on the mirror.

>> Sheila, I want you to do a column. from

Hollywood.

>> Hollywood?

You know, John, I think I might like

that.

>> It's a deal.

No, no, no, Jack. That's all wrong.

Well, you can do as you please, of

course, but I'm not going to borrow from

our studio. I'm handling that in my own

way, personally. All right, Jack. I'll

talk to you later. See you.

Well, how are you?

>> Very well, thank you, Mr. Harris. How

are you?

>> Fine. Won't you sit down?

>> Yes.

>> I'm glad you could come over.

>> I'm glad I could get in. [laughter]

>> I must say, you're a very controversial

figure this morning.

>> Harry, if you want me after you talk to

New York, I'll be on stage 10.

>> Oh, bye, Sheila.

>> Goodbye, Harry. Thank you. It

>> was a pleasure.

>> Will you come over to stage 10 with me,

Sheila?

>> Oh, yes. I'd love to.

>> I'd like you to watch some scenes we're

shooting for the picture of the Yis.

>> Oh, yes. The cow that kicked over the

lamp that burned Chicago.

Janet Pierce.

>> I'm curious, Sha, what have you got

against Janet Pierce?

>> Personally, nothing whatsoever.

>> And why did you take that unnecessary

slap at her in your column?

>> Oh, I merely stated the well-known truth

that she can't act.

You know, Sheila, you're in a position

now where a thing like that in your

column can do a great deal of harm, even

to a star as well established as Ganon.

>> Should I consider that a compliment or a

spanking?

>> I'd like you to consider it a uh

responsibility.

You're a member of the community now.

You can afford to be a little

constructive, too, you know.

>> All right. I suppose I can. Although I

think you have an exaggerated idea of

the power of my column, I understand

Miss Pierce's sizzling at the box

office. Fortunately for the studio, that

is true.

>> The Coopers are having a few people over

after dinner tonight. Why don't you come

to our house for a bite to eat first and

we'll drive over together.

>> I'd love it, but I don't know whether

the Coopers would love it.

>> Of course they would. Oh, Ronnie Coleman

will be coming. You know him, of course.

>> Yes, slightly.

>> And Janet Pierce, she'll be going.

>> Well, you're very kind. I'd love to.

>> Good.

They're rehearsing.

Janet, uh, when you look in the mirror

and see Dion standing there, pick it up

a little bit quicker. Quiet, please.

This will be a take.

>> Cameron,

>> roll a take.

>> Steve,

>> action.

>> Get out of here.

>> Now, Val, listen to me because I'VE GOT

TO TALK.

>> LOOK, LISTEN TO ME. VAL.

>> NO.

>> Will you

>> LISTEN TO ME? PADDYY, [screaming] HELP.

HELP. MADDIE, WILL YOU GET OUT? WE WILL

GO.

>> OKAY.

>> What's the matter, Janet? The scene was

going beautifully. Why did you stop?

>> Sorry, Bill. There's a visitor on the

set.

>> Sure. She look

>> I know who it is. When she leaves, I'll

be in my dressing room.

>> Janet. Janet.

Darling, the dailies this morning were

wonderful. And you?

You were just great.

>> Oh, thank you.

>> I have Sheila Graham here.

>> Oh, here on the set.

>> Yes. Wants to do a story on you. Oh,

Sheila.

>> Hello, Miss Pierce. Tell me, Miss

Graham, how did a girl as pretty as you

are ever get to be the biggest witch in

Hollywood? And that word is spelled with

a capital B.

>> Janet.

>> Well, Miss Graham,

not the biggest, Miss Pierce. The second

biggest.

>> Oh, Stan, why do you bring these stray

cats onto the set?

>> Janet.

jingle.

[music]

biggest. Second biggest

I'll only be a minute.

>> Sheila.

>> John. Oh, John.

Oh, forgive me. I'm just so happy to see

you.

>> If you're any happier, I'd need Warwick.

>> Oh, I'm sorry, John. I I just needed

that. I've been feeling sorry for myself

all day.

>> You're the only one in Hollywood feeling

sorry for Sheila Gray.

>> Do sit down, John.

>> I can't stay. Just dropped in on my way

to the airport to give you a word of

warning. Sheila, darling, if you go on

attacking people, you're going to get

the door slammed in your face once and

for all, and that's no good for

colonists. But John, I write about

Hollywood as I see it, and if I choose

to attack it, that's my privilege. I'm a

reporter.

>> I don't mind my columnists being

controversial. That sells papers. But

when they're controversial,

controversial, that spells trouble.

>> Well,

>> some of the publishers who've been

running your column are threatened with

a loss of advertising. Now, please let

up a little.

>> Well, all I know is that the sure road

to failure is to try to please everybody

and still write a good column.

>> You know what I mean, Sheila, ease up.

Barely time to catch my plane for San

Francisco.

>> Oh, John, must you go now?

>> I'll be back in about 10 days.

>> All right.

>> Now, if you're a good girl and follow my

advice, I may be able to get you a

weekly radio broadcast like Luella has.

>> Now, keep that to yourself.

>> Yes. All right.

Goodbye, John.

>> Cut. Ready.

You know, I knew you were writing this

series of shorts, but I didn't know you

were acting in them.

>> Oh, they needed a note talent actually.

>> Oh, come on.

>> Donica leave.

>> Yes, on Sunday. Listen, got any choice

tidbits for my column?

>> No, but I'm giving a party tomorrow

night. I want you to come.

>> Oh, Bob, I'd love to, but honestly, I've

been showing Dawn the town for the last

two weeks, and I'm exhausted.

>> Oh, come on. Come on. It's somebody's

birthday. Enough things might happen to

fill your column for a week. We're ready

for you, Mr. Carter.

>> Oh, yes. Thank you. Uh, no, please. It's

a fun party. Don't go away.

>> No. Go ahead.

>> Roll the tank.

>> Today, we're going to take up the

ordinary household problem of opening a

can of sardines. Now, of course, the

intelligent thing to do is to use a can

opener. But if there's no can opener

available, there are many other kitchen

utensils that will do the job. The ice

pick. Simply drive the ice pick into the

tin of sardines.

And use a strong knife.

There you are. Now, not only have you

freed the can of sardines, but you also

have your household hint for today. How

to convert a kitchen table into a flower

garden. Cut. Free.

Ladies and gentlemen, uh, I want to

propose a toast

to Scott,

>> one of the greatest novelists in the

English language.

>> And I should know because as a

punishment, I was forced to read him

since I was 6 years old.

>> I don't mean this impostor. F. Scott

Fitzgerald. I mean the real Scott, Sir

Walter Scott. [laughter]

And in paying tribute to Sir Walter, the

creator of Ivanho,

and I don't know why we should. Instead,

ladies and gentlemen, let me propose a

toast to the Westchester Power and Light

Company, who shut off my lights and

forced me to come to Hollywood, where I

can afford to give parties like this.

[laughter]

>> Oh, you lucky girl. You're going to

dance with me.

Stop it. You're making me blush.

>> Am I?

>> Mhm.

>> Have a lovely sensitive face.

As a columnist, you've got to be as

tough as nails.

And you're going to marry a lord, aren't

you?

>> Yes. Yes.

>> Genuine

coronet robes. The whole

>> Yes, certainly. Wear him every morning

for breakfast.

>> That's what you were really brought up

to do.

>> Absolutely.

How do you put all that together?

Oh, looks brains

influence.

And what is it you're going to be? A

duchess?

A lady?

>> A martianness?

>> Well, there you are. You see,

you're a jigsaw puzzle.

>> Of course I am. I'm incredible.

What are you looking at now? Surely you

found out everything you want to know.

>> Which is the happy one and which is the

sad one?

>> Sad what?

>> Ah, everybody has a sad eye and a happy

eye. Oh,

>> well, which is my sad eye?

>> This one.

>> Thank you very much.

>> I'll tell you something else about eyes.

A gray eye is a sly eye. A brown eye is

a roguish eye. But a true eye is blue.

>> And yours a true blue.

of that there can be no doubt.

>> And yours are brown. There's no doubt

about that either.

>> What are you going to do about it?

>> Well, under the circumstances, there's

precious little I can do.

>> Have dinner with me.

>> I don't want to lose you.

>> When?

>> Tomorrow.

Hello.

>> Oh, hello, Scott.

>> I'm terribly sorry about this last

minute thing. I'm still at the studio.

>> Stan Harris wants me to stay here and

have dinner with talk about a new

assignment.

>> Of all times, it would have to be

tonight. I'm afraid that takes care of

the evening for us.

Well, perhaps it needn't.

Look, if if you feel like it, why don't

you come by after you finished? I'll

still be up.

>> I'll be there.

>> All right.

Hello, Sheila.

>> Hello, Scott. Come in.

>> Thank you.

>> Well, how did he go in the studio today?

>> Oh, I don't really know.

I must say, he's got a story that I'd

very much like to do.

>> Well, they ought to be jolly lucky to

get you.

>> Well, thanks for the vote of confidence.

He's not quite so sure about me as a

screenwriter.

>> I like your place. It's sweet.

>> Well, thanks. It's

>> Let me give you a drink.

>> No, thanks.

>> Oh, you sure?

>> I'm sure.

That's you.

>> Yes. At the ripe old age of three.

>> Who's this little devil?

>> Oh, that's my brother, Derek.

>> Must be your father. No, no, that's my

grandfather, Sir Richard. It's a picture

taken in his hunting pink. He He was

master of the Devon Stag Hounds. The old

boy was absolutely insane about the

subject. He rode to Hounds until he was

80, I believe.

>> Well, what do you know?

That was when I was presented at court.

Buckingham Palace, you know.

>> Buckingham Palace.

>> Yes.

>> Well, would you like

>> Shall we have a look outside?

>> View. Yes.

>> Um,

now you tell me about you. Are [music]

there masses of Fitzgeralds?

>> No, the Minnesota Fitzgeralds are in

rather short supply lately. That's just

me.

>> I really took this place just for this

view.

>> And weren't you right?

>> There's not much noise up here when one

sleeps soundly.

I I mean, once one's in bed, one

I don't seem to be able to breathe

properly when I'm with you.

>> You know this is a mistake.

>> Yes. Yes, I do.

Okay, hold it right there.

>> Okay, thank you.

>> He's got a great sense of humor.

>> You and Scott have been friends for a

long time, haven't you?

>> I was the best man at his wedding. Oh, I

I guess I know Scott about as well as he

allows any man to know him.

>> Mhm.

He doesn't volunteer much about himself,

does he?

>> No, not much.

>> What's his wife like,

>> Zelda?

She was young and and beautiful.

No party was complete without the

glamorous Fitzgerald. Zelda danced on

the tables.

You know, they both dove fully dressed

into that fountain in front of the hotel

plaza.

Oh,

>> where is she now?

Asheville, North Carolina.

>> Are they divorced?

>> No.

>> Zelda's in a sanitarium

for the insane.

>> They have a daughter. She was about 13

when Zelda cracked up and Scott put her

in school.

He had specialists coming from all over

the country try to help Zelda.

He ran out of money and went on an epic

drunk. Another

irony this whole situation.

Here's Scott, one of the most

distinguished novelists in America,

working in Hollywood, taking on any

assignment he can get there, struggling

to

make enough money to pay the medical

bills and keep his daughter in school.

>> What you can't order now?

[sighs]

>> What do you want?

>> Oh, um Oh, I I don't mind a fruit salad

or something.

Greetings, friends. I got your message

about lunch. I was tied up with Stan

Harris.

>> Thanks for not making it. I had her all

to myself. I'll see you back at the flea

bag. Huh?

>> Have you had lunch?

>> No, not yet.

>> Oh, I'm due over at MGM. I'm

interviewing Gable.

>> Wow. Well, I'll see you to your car. Any

news?

>> I got the assignment.

>> Oh, darling, that's wonderful. I knew

you would.

>> The fantastic part of it is it's a story

I've been in love with for years. I've

finally got a screenplay to work on that

I think can really turn out. And you

know what else is in it for little old

Fitz? What's it? Money.

Plenty money. Nothing but money. Oh,

Scott, it sounds so exciting. Where do

you start?

>> Bright and early Monday morning. What do

you say we celebrate? Let's go somewhere

for the weekend.

>> Oh, that's a lovely idea. Isn't there

some desert out there somewhere? Some

mountains of Mexico or something rather?

>> Got yourself a date?

[music]

Yes.

Ho.

[laughter]

>> Oh, look at them.

Hey, Muachos.

Oh,

come on. [laughter] Come on. Come on.

They say an author reveals himself

subconsciously in his writings. Do you,

Scott?

>> I suppose I do.

>> I know so little about you. Really?

Do you know I have never read a single

thing you've written?

>> And you've been presented at Buckingham

Palace,

the king and queen of England. with such

a gap in your education.

We'll have to take care of that right

away.

>> Hello.

>> Can I help you?

>> Yes. Do you have any of the novels of F.

Scott Fitzgerald?

>> Oh, I'm sorry. Nothing in stock, but I

can try to get them for you.

Oh,

>> do you have any calls for them?

>> Once in a while. Not for some time,

though.

Novels? Who reads good novels today?

Well, now all it is is politics, yogi,

cookbooks. Well, I've got a beautiful

set of balls out back that the mice are

enjoying.

>> Do you like Fitzgerald?

>> Oh, yes. I'm a great admire of Mr.

Fitzgerald.

>> A good novelist, in your opinion.

>> Oh, yes, in my opinion. Well, mine, too.

Which ones were you interested in? The

>> Great Gatsby. This side of paradise.

Tender as the night.

>> Well, uh, if there's none about, I can

order them from the publisher for you if

you'll give me your name and address.

>> F. Scott Fitzgerald, the Garden of

>> My. Oh my. So it is. Mr. Fitzgerald, I

should have recognized you. This is an

honor. A real honor for me.

>> Thank you very much.

>> Uh, how many years since your last

novel? Uh, five, six.

>> That's about right. Well, now you must

give us more. Many, many more. Even

though the public's a little slow in

buying you right now, they'll wake up.

They'll come back to you. I've seen it

happen over and over again.

>> Well, thank you very much.

>> Goodbye.

>> Goodbye.

Come in, Sheilo.

>> Hello, darling.

>> Hello, Poncho.

>> I'm just finishing up the thing here.

It'll take me one minute.

>> Mhm. Nice. 16 pages of screenplay in one

day. I am very impressed.

>> That's going all right. Not too bad. Not

too bad.

You look more attractive every day.

>> Today you look like tomorrow.

>> Have you got any plans for us for

tonight?

>> Yes, the same as last night to be with

you.

>> There is one thing I want to show you

here in the drama section. It's

Charlotte's column. They're putting on a

play tonight at the Pasadena Playhouse.

And it's from a short story I wrote

years ago, Diamond as Big as the Rits.

>> Darling, how marvelous. Let's go.

>> Would you like to?

>> Well, of course I'd love to.

>> Well, I I've ever read the thing. I

mean, it might not amount to

>> it. Oh, now darling, don't be silly. The

Playhouse puts on wonderful things. It

might even go to Broadway. Oh, Scott,

let's go.

>> We'll do it upright. You wear that

beaded evening gown.

>> Yes, I

>> wear black tie, dinner at the truck,

>> of course.

>> And we'll hire a chauffeur driven

Rolls-Royce.

>> As big as the Ritz.

>> Bigger.

Could I have the date wrong?

>> It doesn't look much like an opening

night.

It does look rather dark.

>> Oh, look. Here's someone. Let's ask.

>> Boy, oh boy. Would you like to hear

that?

>> Oh, young man.

>> Yes, sir.

>> Is there a performance here tonight of

of a diamond as big as the Ritz?

>> Oh, yes, sir. We're putting it on. The

students, you know, for the students

>> upstairs in the band box.

Oh, I see. I guess you could go up if

you like. I'm sure no one would mind.

It's a lovely play.

>> Is it?

What part do you play?

>> Kisman.

>> Oh, that's nice.

Who Who plays your sister Jasmine?

>> Oh, you know the play?

>> Well, yes. I I happen to be the author.

>> The author? Fought Fitzgerald.

But I thought I'm very pleased to meet

you, Mr. Fitzgerald.

>> Pleased to meet you, Mr. Fitzgerald.

>> Come on, Billy.

Really, I'm sure it would be all right.

>> Scott Fitzgerald, for crying out loud.

Was I surprised?

>> I'm glad I caught myself in time. I

thought he was dead.

>> Come on, Scott.

Scott.

>> Oh, God. The water is wonderful. Why did

you come in?

>> I'm a land animal.

>> You look very special.

>> Oh, that's the ocean, darling.

How many times have you been in love,

Sheila?

>> Oh, darling, I can't remember in this

heat.

>> Why?

>> Curiosity.

>> Well, let's see now.

Well, there was a title gentleman and he

sent me roses. There was a a captain of

industry.

He invested my money. And there was a

sailor and he took me boating.

>> You angry, Scott?

>> Don't stop now. You're up to the sailor.

>> Well, I I was just joking.

>> Well, go on.

Well, darling, it was all so many years

ago, and I was just a silly girl. And

you know me, you know how I exaggerate.

I exaggerate. I I actually lie now and

then. I I just wanted to see how you'd

react.

>> It's all right. I've been to college. I

can stand a few small truths.

>> Oh, come on, Scott. Be nice.

>> All right.

Nice.

What kind of a girl were you when you

were growing up? I mean, before

the sailor took you boating.

>> Scott

>> Grim,

what kind of a name is that?

Is it a Scotch name? German?

>> I don't know.

>> Your father, what was he in business?

And your mother, what kind of a woman

was she?

She died when you were 17. That's what

you said, isn't it?

>> Yes.

>> London.

>> Yes.

>> What part of London?

>> The West End.

Oh,

were you were you a

you a little little girl or a a big

little girl?

Did you wear pigtails with ribbons on

them? Did you go to nice schools? What

sort of schools?

>> Stop it. Stop it.

>> Sheilo.

Sheilo, I'm sorry. There's something

that you don't want to tell me. And

don't tell. I'm sorry. I'm sorry.

>> Why don't you leave me alone? Why you

keep questioning me,

>> Sheilo? Because I love you. Because I

want to know everything about you.

>> I cannot I cannot go on lying to you.

Not anymore.

I was brought up in an orphanage.

I was born in a slum.

When I was 17, I went to work as a

kitchen maid.

It's all made up. The beautiful rich

mother is so rich in his pink coat. And

even the pictures, they're all fake.

Even my name. It isn't Scotch. It isn't

German. It's just common. Lily Sheil.

That's my name. Lily Sheil.

>> Sheila. Sheila, why on earth? [laughter]

What difference does it?

>> Because I didn't want to be trapped.

Because I was afraid.

>> Sheila, that's enough. That's enough.

Lots of people don't like their lives,

so they make up lives that they like

better. That's all you did. And all of

it, every bit of it, everything that you

were and everything that you are, makes

you that much dearer to me.

>> Oh, but Scott, I couldn't [crying] go

through my big liy shield.

You You asked me if I wore pigtails.

Pigtails. Our heads were shawn. They

were sh to the bone. And I was so ugly

and I didn't want to be. I wanted to be

beautiful and clever.

>> You are.

>> I wanted to be accepted and to be loved

and to be saved. [crying]

>> You are Sheilo.

>> All those things you are.

>> I wish I'd known you then. I would have

taken care of you.

>> You could have come to me.

>> Yes. Where were you then? There was no

one to tell me right from wrong. No one.

>> Stop crying, Sheilo.

I love you very much. I love you as you

are.

As you are.

[music]

>> [music]

>> My days only begin when you come into

this house and I'm jealous of every

second spent with anybody else.

>> That's fine with me.

Let's be hermits together.

They won't go out again till New Year's

Eve.

Not even then.

You know, I felt so lost this evening at

dinner when you and Stan and Bob and

everybody were all discussing the

30-year war. I'm English and you're

discussing English history and I can't

even join in.

You know, I never even went past

elementary school, and I'm hideously

aware of the fact my column isn't even

in grammatical. I'm beginning to hate

the whole thing.

>> Every self-respecting writer feels that

way about his work sometime or another.

>> I've been working for two weeks on the

copy of my first radio broadcast. I've

got to send it to John Wheeler in New

York. And I don't know, every time I

rewrite it, it seems more rubbishy than

the last.

>> Let's have a look at it.

>> Would you, darling?

>> Sure.

>> Are you

You don't mind if I reward it here and

there?

>> No. No, of course not.

Put my magazine

>> just for instance. Huh?

>> Mhm.

That's funny.

That's good.

Don't you think it'll be a bit over

their heads?

>> Don't you believe it, Sheila? You give

them your best. They'll love you for it.

Little gossip is all right, but mix it

up. Toss in an idea once in a while.

Don't be afraid to make people use their

minds.

>> Oh, I wish I could learn to use mine. It

hasn't been exposed to a serious idea or

book in its life.

How would you like it if I were to make

out a sort of a reading list? We could

go through some of the really good

books.

Literature, politics, modern and ancient

history.

>> Mhm.

>> You can make notes on what you read and

we can discuss them together.

>> Well, could we, darling? I would love

that.

>> Of course, we could do me good, too.

Beauty of literature is that it's

ageless. You discover that your

longings are universal longings, that

you're not lonely and isolated from

anyone. You belong.

>> Oh, I do so want you to be proud of me.

You know, up up until now, I've always

felt the only thing that I had to be was

beautiful or pretty. That people would

accept me for no other reason. And

there's always been that fear of being

discarded when I grew old.

>> Beautiful young people are accidents of

nature, Sheilo.

Beautiful old people create themselves.

One of the most attractive women I've

ever met was a bell of 80 Winters.

>> Oh, heavens. And the sooner I start my

lessons, the better. [laughter]

>> All right. What do you say we start on

some English literature? It's a good

rousing play by Shakespeare.

>> Well, for the first night, could the

pupil make the choice?

>> Now, what you got in mind?

>> Well, current literature

with special reference to a passage from

Tender is the night by my favorite

author, F. Scott Fitzgerald.

>> Oh, I'd hardly call him current, but

nevertheless, my loyal little public

proceed.

Nicole smiled at him, making sure that

the smile gathered up everything inside

her, and directed it toward him, making

him a profound promise of herself for so

little, for the beat of a response.

Minute by minute, the sweetness drained

down into her out of the willow trees.

>> Sounds even better now than when I wrote

it.

>> It's those damn willow trees. They'll do

it to you every time. Oh, I suppose

women from 8 to 80 have been throwing

themselves at you as long as you can

remember.

>> Well, you little witch. I suppose you

think a writer has to experience

everything he writes about.

>> I sweated blood getting that on paper.

All you get out of it is

>> Listen, listen. She stood up and

stumbling over the phongraph was

momentarily against him,

leaning into the hollow of his rounded

shoulder. Why don't you lay off

Fitzgerald and get started on

Shakespeare?

>> I'll take a living author any day.

>> I knew it. A little knowledge is a

dangerous thing.

>> I absolutely must find the little hollow

in that rounded shoulder. I must

>> Oh, you must. Well, lesson number one.

>> Oh, no.

>> How?

>> Don't needle the professor.

>> Is the conference over? Are they ever?

I'll be right back.

>> Adolf Hitler's troops goostepped into

Vienna. Ex-Chancer Kurt Vonusnik was

reported to be under arrest following an

ultimatum by Austrian Nazi leader Arthur

Zeiss Incort. The father and front

forces were disarmed and the swastika

was flown over all public buildings.

That's the world news today.

>> 10 seconds, Miss Graham. Remember, you

have to allow 30 seconds for the switch

over from Chicago. So, wait for my hand

signal.

>> And now to Hollywood and Miss Sheila

Graham with the latest news from

Filmland.

>> [clears throat]

>> Good. Good evening.

[clears throat]

This is Sheila Graham from Hollywood.

Mr. Sam Goldwin, who is as well known

for his wit as for his excellent films,

was hunting for a comedy to star Eddie

Canour,

received a call from a writer who told

him he had the perfect comedy for

Canour. Not only was it a good comedy,

the writer insisted, but it also had a

message.

Just write me a comedy, said the witty

Mr. Goldwin. Messages are for Western

Union.

>> Sheilo.

>> Scott. Oh, Scott.

>> Oh, it was a shambles. Oh, I'm so

miserable.

>> Oh, don't be silly, darling. I thought

you were fine.

>> Oh, no. You're lying. And I love you for

it. But I wish you'd been with me.

>> You're a little nervous. Naturally,

anybody would be the first time. Next

week, you'll be okay.

>> That's just it. There isn't going to be

a next week. Mr. Robinson of the network

called from Chicago. They like the

material, but not my voice. And they're

going to use a professional radio

actress.

>> Oh, that's ridiculous.

>> I know. Well, I I argued with them. I

told them that what made me nervous was

the weight. that 30-second delay. But

no, he's set on it. He's going to use an

actress.

>> No, he is heal over my dead body. You'll

go right back to Chicago, Sheila, and

you'll do the show from there. Sheila,

there are times when you just have to

fight back.

You'll go to Chicago and you'll do the

show yourself.

And I'm going with you.

Oh, that would be wonderful. I feel so

completely different when I'm with you.

>> But Scott, you can't leave your work for

four whole days.

>> Oh, never mind about that. They can have

conferences until I get back. All they

want. I'm no good in conferences anyway.

I was with them for seven straight hours

today. Talk, talk, talk. Nothing but

confusion. I'm going with you.

>> I'll arrange it.

>> Oh. Oh.

What would I do without you?

>> Hello.

>> Hello, Mr. Fster.

>> Mr. Harrison.

>> Yes, but Mr. Foster's with him right

now.

>> Well, I wonder if I might see him just

for a minute.

>> Well, I'm sure he'll see you.

>> Mr. Fitzgerald is here and would like to

see you for just a moment.

Thank you.

You may go right in. Thank you.

Hello, Sam. Come in,

>> Scott. Hi, Scott.

>> Sam,

I'm sorry to interrupt like this. I just

wanted to tell you going to Chicago for

3 or 4 days.

>> Oh,

>> yeah. I'd like to get away from the

script for a few days. I I think I'm a

little too close to it, but don't worry

about it. I'll be back on Thursday. I'll

check with you.

>> Oh, Scott,

sit down a minute, will you?

>> You excuse us, Sam? Sh.

>> Sit down.

>> As a matter of fact, I was going to talk

to you tomorrow, but since you're going

[clears throat] away, I think I may as

well tell you now.

I've had to make a decision, Scott. I'm

taking you off the picture.

>> What's the matter? You're going to shel

the picture? Not going ahead with it?

No, we're going ahead with a picture

with another writer. I'm sorry.

>> You mean I'm fired? [snorts]

>> You're a great novelist, Scott, but

screenwriting? Well, frankly, you just

don't seem to have the knack for it. Had

four assignments and you failed on every

one. Four scripts, but not a single

picture.

Oh, you write beautiful pros, Scott, but

we can't photograph adjectives.

>> I like having you around, but I can't

justify keeping you on sale.

Take my advice.

Go back to writing novels.

>> But you said that you love you loved

what I was doing.

>> Sure, some of it reads great, but it

doesn't sound like dialogue like people

talk. [laughter]

If there's one thing in this world that

I do know, it's it's the voice and the

sound of my own generation.

>> I thought so too on some of it, but it

just doesn't come off.

>> But I'm almost through. Let me finish

the script.

>> Scott,

I've got a deadline to meet, a starting

date on the picture. I can't take that

risk.

>> All right. You just tell me how you want

it written and I'll write it.

me tell F. Scott Fitzgerald how to

write.

>> All right, Stan. I'll be seeing you.

>> Scott,

as a novelist, in my opinion, you still

have no equal.

>> Sure. Well, uh, thanks for everything.

>> Best of luck.

Bye.

>> Goodbye, Mr.

Sheila. Graham. Miss Sheila Graham,

would you come to the PWA ticket desk,

please?

>> Thank you, Miss Graham.

>> Yes.

>> This message just came in for you.

>> Oh,

>> you may use the phone in my office if

you'd like to.

>> Oh, that's very kind of you,

>> darling. It's long distance from New

York. It shouldn't take a minute.

United Airlines Flight 3, Bakersfield,

Fresno, Oakland, and San Francisco. Now

loading at gate one. All aboard, please.

>> It was John Wheeler, darling. He's going

to meet us in Chicago and he's so glad

you're coming. He said it would be like

old times. I'll have a brandy, please.

Just for the takeoff.

>> I'll have another double gym just for

the takeoff.

[laughter]

>> Scott, what are you doing?

>> I've never seen you drink.

>> Well, you're seeing me now,

>> Scott.

What's the matter with you? Please tell

me.

>> Nothing's the matter with me.

Everything's for the best in the best of

all possible worlds. And another time

around, Charlie.

>> Oh, no. Please, Scott. Please, darling,

tell me what's wrong.

>> No, do I don't.

>> PWA flight 6 to Albuquerque, Kansas

City, and Chicago now loading at gate

three. All aboard, please.

>> Sh. Let's go.

Let's fly.

Let's fly.

>> Oh, Scott, please, if you're going to be

any help to me at all.

>> Would you care for a magazine? No, but

I'd certainly like to sell something

around them. Do you know who I am?

>> No, sir. I don't have my passenger list

with me.

>> Never mind. I'll tell you. I am F. Scott

Fitzgerald, and she is Sheila.

>> Scott, please, for heaven's sake,

stop it.

Sir,

do you know who I am?

>> Nope. Who are you?

>> I am F. Scott Fitzgerald.

Surely you've heard of my books, The

Great Gatsby.

Uh, plenty of others, haven't you?

>> Oh, yes, of course I've heard of you.

>> You see there? Heard of me?

He's heard of me.

How about you, sir? Have you heard of

me?

>> Can't say as I ever have.

>> You're fired.

You're fired.

>> F. Scott Fitzgerald.

>> I'm so thrilled to meet my favorite

author in person. I never thought I'd be

speaking to you of all people. I've

always visualized you as being just as

handsome, daring, and romantic a figure

as any of the heroes in your books. And

you know, you haven't disappointed me

one bit. You're even more so. Even more

so.

>> You know my works, do you?

>> Every single line you ever wrote.

You silly brat.

[laughter]

I wish you would get off here in

Albuquerque and catch the next plane

back to Hollywood. It was a great

mistake for you to come with me. You're

in no condition to help me. I can get on

much better in Chicago on my own.

>> Oh, please, Scott. You're making me very

unhappy. Please get off here and go

home.

>> Sheilo, fine. I shall get off as you

suggest.

>> No problem. No problem.

You fight your battle and I'll fight my

battle alone. All alone.

Lone wolves. You and me.

Lone wolves.

Lone wolves.

Flight 6, Kansas City, Chicago. Aboard,

please.

Hello.

>> Oh, Scott. Oh, Scott. I'm so glad you're

back. I shouldn't have said that,

darling. I'm sorry. I love you. I love

you. Oh, I'm so glad you didn't get off.

>> Oh, I got off.

I got another bottle.

>> Oh, Scott.

Scott, please. Mr. Fitzgerald, please.

Please, Mr. Fitzgerald.

Shayla.

>> John, darling.

>> John, good to see you. You look

wonderful.

>> Thank you,

>> Sheila. This is Ted Robinson from the

network.

>> Oh, yes. The enemy. Come in, Mr.

Robinson and sit down, won't you?

>> Thank you. Well, you mustn't think of

Ted as the enemy, Sheila. Let's see if

we can't work this all out.

>> Yes. Fine. I um I just know I can do the

broadcast beautifully, Mr. Robinson, if

I don't have that terrifying halfminute

wait.

>> Miss Graham, as program director, I am

responsible for maintaining the level of

our Scott.

Hon

>> Mr. Robinson, this is Mr. Fitzgerald.

>> How do you do?

Just go right ahead, Mr. Robson. Go

right ahead.

>> The problem, of course, is your

delivery.

>> Yes, I know. I was very, very nervous,

but I still say that half minute wait,

it seems like an eternity.

>> Your nervousness is not what disturbs

us.

>> If I may be so frank, a large part of

our audience is Western and Midwestern.

>> Their ear is not attuned to the cadences

of a British accent. Why don't you try

sticking an ear of corn in your mouth?

>> We require of our broadcasters a

language that is reduced to its purest

and most understandable level.

>> That that is a very heavy

responsibility, Mr. Robson. You see,

Miss Graham,

we cannot have you English coming over

here contaminating our beautiful

language.

Scott, please.

>> Cut it out, Scott.

Be yourself.

>> John, that's about the worst advice you

can give me right now.

>> Well, come on, Mr. Robinson. Does she go

on or doesn't she?

>> I'm sorry, Miss Graham. Excuse me.

>> I'm sorry, Mr. Wheeler, but I simply

can't. Let's go to your office and try

to settle them out there.

>> I'm most terribly, terribly sorry, Mr.

Robin Snip.

>> Join us when you can.

>> Yes.

>> Now, now, warden, before you switch on

the current, the prisoner has a

statement to make.

Business tactics, my darling.

>> Business tactics.

>> Oh, Scott.

What am I going to do with you?

[laughter]

But Ted, what's to be lost if you give

her one more try?

>> I just can't take the responsibility.

Good morning, Miss Arden.

>> Good morning, Mr.

>> Now, Miss Arden is here. She has an

excellent reading voice. She's familiar

with Miss Graham's material, and I'm

sure even you will approve our choice.

>> What would the Luella Parson show be

without Luella?

I admit it would be preferable if Miss

Graham did her own show. But

>> couldn't you possibly give me one run

through right now and then if you're not

completely satisfied? Well, you have

Miss Arden and I'll be on my way back to

Hollywood and no hard feelings.

>> I'll agree to that. We haven't much

time. Charlie, would you please have

Miss Arden wait to studio A?

>> Right,

>> Miss Graham. Whenever you're ready.

>> Oh, yes. Yes.

>> Miss Ardan. Miss Arden, would you be

kind enough to wait for us in studio A,

please?

We're going to give Miss Graeme a run

through.

>> Okay, Miss Graham, let's get a level,

please.

Good evening. This is Sheila Graham from

Hollywood.

>> Perfect.

>> Perfect, Sheilo. Just great.

>> Oh, Scott, please.

>> Oh, Sheilo, don't be afraid of them.

There's nothing to be afraid of, Sheilo.

>> I'll get him out of here right away.

Scott, will you please sit down and be

quiet?

>> Level's fine, Miss Graham. Now for a

complete run through. Ready? Start. Now

she will.

Don't be nervous.

Just be yourself.

Your darling,

lovely

bewitching.

self.

That's all you have to do, darling. Just

absolutely

be yourself.

>> Hello, John. What can I do for you?

>> Let's go back to the hotel, Scott.

>> Fine.

Fine.

Soon as I get Sheilo straightened out

here. Now, darling, let's try it again.

H. Now this time remember

just relax.

>> Come on darling

give us that great big smile.

Be my own Sheilo.

Good evening.

This is Sheila Graham from Hollywood.

The newlyweds Frederick March and

Florence Eldridge got two tickets in the

mail from an unknown benefactor.

It was for the opening night of the

stage play Hamlet starring Leslie

Howard. And as tickets were hard to come

by.

>> Now you've got it, Sheilo. That was it.

That was wonderful. Wasn't that just

great, John?

>> Just great. Come on, Scott.

>> You've got it, Shilo. It's in the bag.

You can't miss. You see what I mean,

John? It's the secret of all great

performers. You just have to be

yourself. Take any anyone you meet. Jack

Barrymore, Benard, Daer, London Fontan,

Helen Hayes. One secret. What is it?

Nothing to it. Just themselves.

>> Now, Miss Graham, everything's all

right. Let's go. Right on.

John, where is he?

>> He's asleep. I was just leaving you a

note.

>> Oh,

John,

it's just awful that you had to be

dragged into all this.

>> Hell, don't worry about me. [sighs]

>> That's my first experience with Scott

like this, and I I am absolutely furious

with him. All things considered, I think

the poor guy hasn't behaved too badly

>> like that. What am I supposed to do? Go

in there and wake him up and apologize?

>> Sheena, don't you know that he's lost

his job? Been fired at the studio?

>> Fired.

But he but he didn't tell me. He didn't

say a word.

>> Worst possible time for a thing like

this to happen. Zelda, the hospital

bills, the daughter, his self-conidence,

everything gone. And here I've been

worrying about my stupid little

broadcast.

>> John, I've got to help him. What should

I do?

>> Get a doctor. He'll probably recommend

putting him in a sanitarium till he gets

over.

>> Oh, John. I can't do that. No, I can't

do that to him.

Oh, my poor darling.

Oh, John, help me. Help me. I don't know

what to do. I don't know what to do.

[singing]

[music]

>> [singing]

>> La. [laughter]

>> Hello, darling. How you feeling?

>> Oh, better than I should.

>> Dr. Hoffman been here today? Yes, I'm

riddled with punctures and filled with

vitamins.

>> Scott, what are we going to do about us?

Drinking frightens me.

Darling, I'll take the bad with the

good. But I I feel that perhaps first I

should know just how much of it is going

to be.

>> You've seen the end of it.

I'm going back to work.

Already called my agent about another

picture assignment.

>> Fine. Do you know? Do you know

something? I don't want you to write any

more screenplays. This place isn't

[music] right for you. You should be

somewhere where it's quiet with a no

distraction so that you've got a chance

to do what you can do best. That's write

novels. You've been taking notes on a

novel about Hollywood and you should get

on with it. Start writing.

Serious writing takes time.

Time.

There are certain obligations that I

must meet.

You know that Zelda's in the sanitarium.

I can't allow her to be put into an

asylum. Can't.

And Scotty is in

most crucial stage of her education

right now. So I must have a certain sum

of money coming in regularly.

Writing a novel

takes takes time. Time.

Yes, I I know, darling. And I've been

thinking about that, too. And I I think

I have a solution.

I I do hope you're going to like it. Do

you know what I've done? I've rented a

house at Malibu Beach away from all

this. And [music] with six weeks of

concentrated effort, you could write

enough to get a big advance from any

publisher in America. That would solve

your problems, wouldn't it?

>> Oh, Scar. It's a lovely little house.

Just the sound [music] of the surf and

the gels and

what do you think?

>> Well, it sounds good.

Might work.

I am intrigued with the tycoons of this

industry.

There's a good theme in it.

>> When should we go?

>> Right now.

>> All right. Come on. I hope you're back.

>> That won't take long.

I'll get the luggage. You know, I've

always felt that Hollywood had a

wonderful kind of a foolish grandeur

like an Italian court in the

Renaissance. It's got its kings,

clowns,

wicked princes, and clever mistresses

all in a ferment of ambitious motion.

>> And it scribes, chronicers, and gossips

like me.

>> What you doing with this?

>> Oh, I used to have that in Baltimore. We

had prowers around the place once.

I think that the theme

would be the conflict between one

superior man and all the petty angry

forces that try to tug him down, drag

him down, make him settle for less than

the best. Something they can understand.

Probably in the end they'd destroy him.

>> What is this?

It's a bull's tail.

>> Yeah, well, of course it is. But what on

earth for?

>> What on earth for? Well, Juan Belmont

gave me that in Madrid in 1926.

>> And you've been lugging it around ever

since.

>> Ever since. Can't throw a thing like

that away.

Heat. Heat.

[music]

Hello, darling.

>> Hello, Sheilo.

>> How'd it go today?

>> Pretty good. Pretty good. Well, my

literary agent called from New York.

>> Mhm.

>> Well, I'll get four chapters ready. He

wants to submit them to the Saturday

Evening Post and to college. What do you

think of that,

>> darling? That's wonderful. I knew it was

the right thing for you to move down

here. Oh, I am so pleased.

>> What kind of a day did you have?

>> Oh, not bad. I finally got an interview

with Garbo. Yes. And uh then I went back

to the office, wrote my column. Oh, and

I spoke to John Wheeler in New York.

>> Oh, did you? What he had to say?

>> Well, he thought it wouldn't be a bad

idea if I went to New York.

>> Uhhuh.

What for?

>> Oh, there's a annual publishers

convention and he thought I should go

back for it and perhaps pick up a few

new outlets for my column.

>> Is there anyone in particular that you'd

like to see in New York?

surely you don't think

you're ridiculous.

Sheilo,

come here. Come here.

Now, listen very carefully to what I'm

going to say because I mean every word

of it. If you leave me now and go to New

York, don't come back to me.

>> God,

you can't possibly mean that.

>> Yes, I mean it. I don't want you to go

to New York.

>> Oh, darling, of course I won't go if you

don't want me to.

It's just that I'm I'm a working girl.

I've got my future to think of.

>> What you've been looking for all your

life, you found

you've been looking for love and

understanding. You told me

I understand you and I love you.

Must I come out and say it?

You're the most important thing in my

life.

>> Oh, Scott, say that again. Or please say

that again.

It's what I've wanted to hear. What I've

needed to know.

Oh, you mean everything to me.

I have all the excitement I need right

here with you. And nothing else matters

to me. Nothing.

I love you, darling. I love you.

She go.

You must have felt

You must know how very much I want to

marry you.

How is it you've never asked about

what's going to happen to us?

Well, a Graeme is a trusting animal.

It makes a fine house pet. It's easily

trained and likes to play games and

fetch a stick or a morning paper.

And it never asks questions.

Does it trust?

>> Yes, it does.

Took Toltoy four years to write that. If

he'd wanted the ending where the

beginning is, he wouldn't have started

to write it.

>> I know it's sacrilegious, but you must

admit it is rather long. It

>> is rather, isn't it? The mailman come

yet?

>> No, darling, he hasn't.

>> Here it is. Chapters 1 2 3 4. Ready for

New York.

>> Oh, darling, that's wonderful. Remember

what the little book seller said?

They'll come back to you, Mr.

Fitzgerald.

>> They'll be welcome.

>> I'll sit right here with Mr. Tolstery,

darling, until the mailman comes.

Homer,

it's very important. See that he gets in

the first mail. Yes, sir.

>> [music]

>> Heat.

[music]

Heat.

[music]

[music]

>> [music]

>> Sheilo.

Glory. [music]

[music]

Awesome.

>> [music]

>> Heat.

[music]

Heat.

[music]

And another one for old fits and hats.

[laughter]

Extremely well expressed.

>> [laughter]

>> Shipo anchors away down.

>> I have a present for you. Come on.

Something very special.

Try this on, old sport.

Just climb into this.

Perfect. Positively

elegant. [laughter]

I'll drink to the best dressed man in

the room. [laughter]

>> You, sir, Mr. Fitz Simmons are a

gentleman. And I know a gentleman when I

see a gentleman.

>> Me, too. Coming from you, sir, I regard

that as the supreme compliment.

>> Did you fellows tell me that you have a

a housing problem?

>> Well, it is solved. Fourth whiff. You

stay here with me and be be my house

guest.

>> House guest.

>> Wonderful.

[laughter]

Hello, Sheilo.

>> Come on in and join us.

>> Scar,

what's going on here? Who are these

people?

>> Why, she know these are my friends.

This is Mr.

Mr.

Smemedley Jones.

This is

Mr.

Mr. Derby Foresight.

[laughter]

I thought you'd like to meet them,

Sheilo.

They're sailors.

[laughter]

>> And settlement, the lady,

>> I think you better leave.

Take the suits and

ties and books, anything else you've

he's given you, and leave them here.

>> Have to

>> immediately, please.

>> Sheilo,

I warn you, don't talk like that to my

friends.

>> He gave his stuff. Ain't that right?

>> Certainly. I did. Certainly. I'm no

Indian.

>> Come on. Get them off and get out of

here. Come on. at once. Otherwise, I'll

call the police.

>> Police? Oh, that will not be necessary.

The young lady wants us to shove off.

Uh, see you all, pal. If you don't see

us around the beach, look us up at

Freddy's bar.

>> Don't mind, my lady. I'll see my

friend's house. Now, listen, you fellas.

You come back here

>> anytime. Anytime.

>> Bye.

Never do that to me again.

>> Scott.

Scott. Scott, please. Please.

>> I'll invite whomever I want. Whenever I

want.

>> Scott, have you eaten anything?

>> No. And stop mothering me and

smothering.

>> Scott, if you won't, let me take care of

you. I'll have to call Dr. Hoff.

>> Call him. Don't call him. I don't care.

I don't need you or anybody else to look

after me.

>> Well, in that case, then I'm leaving.

>> No, no, you don't. You'll stay right

here until I say so.

>> I want to go.

>> You'll stay

right here.

>> My darling pony.

God,

>> my phony darling,

my fine lady from the slums.

>> Sheila Gra.

>> You're just playing silly Lily Shield.

>> No, Scott, stop it.

>> Liy, stop it.

>> Li,

I HATE YOU. I DON'T LOVE YOU ANYMORE AND

I DON'T RESPECT YOU ANYMORE.

>> OH, NO. WHERE'S MY GUN?

>> I'M GOING TO kill you. WHERE'S MY GUN?

>> I DON'T KNOW.

>> Oh god.

>> Open the door. Open up.

>> OPERATOR. OPERATOR. GET ME TO POLICE.

THIS IS MY ADDRESS. It's 319. OH, SCOTT.

SCOTT, [screaming] STOP IT.

STOP IT, SC. I CALL THE police and

there'll BE A TERRIBLE SCANDAL. STOP IT.

NO.

[screaming]

NO. NO. GOD. DON'T. DON'T.

>> [screaming]

>> You go on. Go on. Just take it. SHOOT.

GOD. DO IT.

I don't care what happens to you. You're

not WORTH SAVING. YOU'RE NOT WORTH

ANYTHING. I DIDN'T DRAG MYSELF OUT OF

THE GUTTER TO WASTE MYSELF ON A

WORTHLESS junk like you. Worthless.

Worthless. I hate you. I hate you.

How's he doctor? He's quiet for the

moment. I gave him an injection. Three

cc's of medication.

>> Cup of coffee.

>> Thanks.

>> No thanks.

>> How serious is this?

>> Doctor.

Doctor.

>> Doctor.

Doctor, will you do something?

>> Try to be calm. But my arms are numb.

>> Just give the medication a chance to

work. It'll ease you.

>> How long will I be like this?

>> That all depends. Might never happen

again. On the other hand, if you

continue to drink, your heart can take

just so much and you might be paralyzed

for life.

>> Then I'd blow my brains out.

>> Who'd hold a gun?

>> Might not even need a gun.

The good Lord tapped you on the

shoulder, Scott. Let it be a warning to

you. I'll drop by in the morning.

>> Thanks, doctor.

>> Good night, Bob.

>> Good night, doctor. You know he's right.

You can't go on like this.

Then they're going to make things worse.

>> Yeah, I know.

Oh, God.

Don't I know?

And I'd like to get out of it.

The power

where

I'm finished.

Well,

Emerson said it pretty well.

On the debris of our despair, we build

our character.

So, the Kers and Post turned down your

book, but not really. Just the first

couple of chapters.

Maybe they didn't grasp what you're

after.

All right, finish it.

Prove to him you still have it.

[clears throat]

Yes. Hello.

>> This is Scott.

Sheila.

>> Sheila,

please talk to me.

And then for the last two days, he's

been bombarding me with letters and

telephone calls at at 2 and 3 in the

morning.

He sent a telegram to John Wheeler

urging him to have me sent back to

England.

>> Why?

>> And he if John refused, he threatened to

have me deported by the Department of

Immigration.

>> Oh, that's just the nature of the beast.

>> I am finished. But really? Oh, I have

had Mr. Fitzgerald and his charm and his

liquor and his genius. I have had it,

but up to here.

>> You sure?

>> Yes, I'm positive. You don't know what

it's been like. I can't work. I can't

sleep.

>> Why don't you get a lawyer?

>> Yeah, take him into court.

No, hire a couple of detectives. They'll

pay a call on Mr. F and promise to throw

him in the clink if uh he doesn't stop

annoying you.

>> Could I do that

>> for a hundred bucks? I got to get my

sunglasses.

>> I'll do anything

to stop those telephone calls. I'll do

anything.

>> They'll stop him. All right. A visit

from the Jearmms just before dawn can be

a nice little persuader. They'll start

by pounding on his door about 5:00 a.m.

>> Oh, but they can't do that.

>> They can do what?

>> Pound on his door at that hour in the

morning. He'd just be falling asleep and

he sleeps so badly.

Wouldn't

you like a drink?

[music]

[music]

The next best thing to seeing you was to

spend the afternoon here in the

surroundings which have brought me so

much happiness. I loved you with

everything I had, but something was

terribly wrong.

We were doomed, I am afraid, from the

start.

I said and did awful things, but what I

cannot bear is the thought that you

trusted me and I betrayed you. I cannot

bear the thought that I gave grief to

you when I wanted to give joy.

I'm glad you're rid of me. I hope you're

happy and that the last impression will

fade a little with time.

Goodbye, Sheilo.

>> [music]

>> Heat. Heat. [music]

She's

home.

Yes.

Thank you.

I must

see you.

I

I I won't talk to you, too.

I'll pick you up, darling.

We'll drive somewhere where we can talk.

I'm through with the drinking. I'm

I'm finished with it for good.

The escape is much more horrible than

the reality.

I know you

I know you mean what you say now, but

how long will it last?

How do I

I've never promised before.

Not to you and not even to myself.

I'm through drinking. Sheilo,

I've started writing again on The Last

Tycoon.

It's going to be the best thing that

I've ever done.

Thanks to you.

I love you, Scott.

I love you as you are now.

But that other Scott, I

well, it was a nightmare. I I couldn't

stand that again. I I really couldn't.

>> Even if you don't take me back

and I want you very very much,

I'm through

drinking through through.

>> Yes. But how

How can I be sure? How can I believe?

How can I know?

>> Test me. Don't just take my word for it.

>> Test me.

Hey,

you have been at it all day.

You must stop now.

>> Yes, I will. It's It's a It's a very

special chapter. It's very special.

Rather personal. It's

Well, it's about us. It's about you and

me.

>> It's about us.

Oh, darling.

Oh, read it to me.

>> Well, I'd like to since I can find the

place where you and I first meet.

Yes, here it is.

I've christened you, Kathleen. And I'm

called Monroe Star.

Yes, here it is. Star and Kathleen

danced.

When she came [music] close, his several

visions blurred.

She was momentarily unreal.

Stark continued to be dazzled as they

danced out along the floor.

She was deep in it with him, no matter

what the words were. Her eyes invited

him to a romantic communion of

unbelievable intensity.

As if she realized this, she said,

frightened,

"I must go back."

Star held her close.

I don't want to lose you.

Couldn't we have dinner?

She dropped her arms and looked at him,

a laughing wanton.

When I'm with you, I don't breathe quite

right, she said.

She picked up her long dress and turned.

"Thank you for the dance," she said.

"And now, really, good night."

Then she nearly ran.

It is us, isn't it?

I never realized that you would

read me some more.

>> Well, there is another part I'd like to

read to you, but

I have to polish it first. It's tomorrow

night. It's the part where Kathleen is

being educated by Star. He's given her a

schedule of books to be read.

>> Sounds slightly familiar, doesn't it?

>> Yes, slightly.

Well, am I am I that wonderful all the

way through?

Haven't you written about the times when

I'm so stupid and foolish and silly?

Why don't we celebrate tonight? What do

you say we go out?

>> Would you like to?

>> Oh, you know what? I've had an

invitation to a private showing at the

Fox Studio. Oh, no. It's nothing big,

just very informal. Some of the industry

and a few of the press. I think it might

be fun. It's a comedy.

>> Well, [snorts] a comedy sounds good. Is

it a funny comedy?

>> Well, it's said to be hilarious.

>> [music and singing]

>> night is

see the moon above

>> soon I'll [music] dream and when I

>> be in the blue

>> I'll dream my way

>> into your [music and singing] arms again

so

[music]

>> until

[music]

>> [singing]

[music]

[music]

>> You see this one? Oh, yeah. Yeah, they

are.

God, what's the matter?

>> I feel awful. Awful.

>> Darling, stay here for a minute.

>> People might think I'm drunk.

>> No, darling. Nobody saw. Lean on me.

>> Let me call the doctor. Hello, Sheila.

Scott, never seen you around. Where have

you been?

>> Uh, well, he's been down at Malibu. He's

working on the most exciting novel.

>> Oh, wonderful. If there's a picture,

it'll be sure to let you read it.

>> Scott, let me call Dr. Hoffman.

>> Conversation.

Scott.

>> Hello, Scott. How are you?

>> Hello,

Scott.

>> Uh, but Bob Carter had a funny row with

the police last night. They uh they

stopped him outside of Chason's

restaurant making a U-turn. Um hello and

they asked his name and he said Peter

Rabbit and then they asked where he

lived and he said in the lettuce patch

and he was um he was very indignant. He

had to spend the rest of the night in

the police station.

Oh, Scott, please let me go and call Dr.

Hoffman.

>> Going to see him tomorrow anyway.

>> Darling, let me drive.

>> Thanks.

Germany, Italy, and Japan have signed a

mutual aid pact.

Well, that means we're going to be in

the war sooner or later.

I'd like to go to Europe,

get a job as a war correspondent.

>> Oh, you coward. You don't even think

you're going to get away from me by

going to cover a war. I'm going with

you.

>> We go lots of places together when

things get back to normal.

I'd take you anywhere you'd like to go.

>> God love that, darling. I'd love to go

to Europe with you. I'd see everything

for the first time.

I didn't really see anything [music]

anyway until you opened my eyes.

Well, the sixth chapter is nearly

finished.

Everything goes well, the book will be

on the stands by early spring.

It's going to be a hit. It's going to be

a great hit and you know it. You just

had to set your mind to it and stay with

it. That's all you needed.

>> Oh, what I needed was a letter from the

publisher saying that the book had been

accepted and the big check that came in

the envelope with it. I'm one of those

peculiar birds who thrives on success.

Some people need to be shaken up by

failure now and then to be at their

best.

Not me.

I've got some ideas for the next book,

and it's a book that could be written

anywhere.

What would you say, for instance, to

Italy when things clear up over there?

>> Oh, heavenly.

I'd love it.

>> I owe you so much, Sheila.

I'll make it up to you. I'll make it all

up to you.

Darling,

what do you say? We make a rule

every time.

>> [sighs]

>> Oh, Dr. Hoffman, please.

Oh, well, well, can you find him,

please, quickly? Mr. Fitzgerald has has

fainted. Please ask him to come up here

as quickly as possible. Yes, thank you.

Scott.

[gasps]

Oh.

Oh, no.

Help me. [laughter] Someone

help me.

[screaming] Oh, help. Help me. Someone

help me. Help.

Oh, help.

Please help me.

Oh, please help me. Please,

help me. This is God. Please, [music]

help me.

Extension

118. The coroner.

>> The radio call.

>> Give me extension 115.

>> The coroner. The coroner.

>> No, I want the coroner.

>> He's dead.

Heat.

Heat.

>> [music]

[crying]

>> She

I love you.

I love you very much. I love you as you

are.

As you are.

And I

breathless moment

when [singing and music] it

sound.

[music]

I see your face [music]

when I look at the star.

>> [singing]

>> And I embrace

all the things that you are.

[music and singing]

My love for you

can never [music]

[singing]

belove.