Chapter VI

I knew nothing about any of this. I went up to Lake Louise, and when I came back didn’t go near the studio. I think I would have started East in mid-August – if Stahr hadn’t called me up one day at home.

“I want you to arrange something, Cecilia – I want to meet a Communist Party member.”

“Which one?” I asked, somewhat startled.

“Any one.”

“Haven’t you got plenty out there?”

“I mean one of their organizers – from New York.”

The summer before I had been all politics – I could probably have arranged a meeting with Harry Bridges. But my boy had been killed in an auto accident after I went back to college, and I was out of touch with such things. I had heard there was a man from The New Masses around somewhere.

“Will you promise him immunity?” I asked, joking.

“Oh, yes,” Stahr answered seriously. “I won’t hurt him. Get one that can talk – tell him to bring one of his books along.”

He spoke as if he wanted to meet a member of the “I am” cult.

“Do you want a blonde or a brunette?”

“Oh, get a man,” he said hastily.

Hearing Stahr’s voice cheered me up – since I had barged in on Father it had all seemed a paddling about in thin spittle. Stahr changed everything about it – changed the angle from which I saw it, changed the very air.

“I don’t think your father ought to know,” he said. “Can we pretend the man is a Bulgarian musician or something?”

“Oh, they don’t dress up any more,” I said.

It was harder to arrange than I thought – Stahr’s negotiations with the Writers’ Guild, which had continued over a year, were approaching a dead end. Perhaps they were afraid of being corrupted, and I was asked what Stahr’s “proposition” was. Afterwards Stahr told me that he prepared for the meeting by running off the Russian Revolutionary films that he had in his film library at home. He also ran off Doctor Caligari and Salvator Dali’s Le Chien Andalou, possibly suspecting that they had a bearing on the matter. He had been startled by the Russian films back in the twenties, and on Wylie White’s suggestion he had had the script department get him up a two-page “treatment” of the Communist Manifesto.

But his mind was closed on the subject. He was a rationalist who did his own reasoning without benefit of books – and he had just managed to climb out of a thousand years of Jewry into the late eighteenth century. He could not bear to see it melt away – he cherished the parvenu’s passionate loyalty to an imaginary past.

The meeting took place in what I called the “processed leather room” – it was one of six done for us by a decorator from Sloane’s years ago, and the term stuck in my head. It was the most decorator’s room: an angora wool carpet the color of dawn, the most delicate grey imaginable – you hardly dared walk on it; and the silver panelling and leather tables and creamy pictures and slim fragilities looked so easy to stain that we could not breathe hard in there, though it was wonderful to look into from the door when the windows were open and the curtains whimpered querulously against the breeze. It was a lineal descendant of the old American parlor that used to be closed except on Sunday. But it was exactly the room for the occasion, and I hoped that whatever happened would give it character and make it henceforth part of our house.

Stahr arrived first. He was white and nervous and troubled – except for his voice, which was always quiet and full of consideration. There was a brave personal quality in the way he would meet you – he would walk right up to you and put aside something that was in the way, and grow to know you all over as if he couldn’t help himself. I kissed him for some reason, and took him into the “processed leather room”.

“When do you go back to college?” he asked.

We had been over this fascinating ground before.

“Would you like me if I were a little shorter?” I asked, “I could wear low heels and plaster down my hair.”

“Let’s have dinner tonight,” he suggested. “People will think I’m your father but I don’t mind.”

“I love old men,” I assured him. “Unless the man has a crutch, I feel it’s just a boy and girl affair.”

“Have you had many of those?”

“Enough.”

“People fall in and out of love all the time, don’t they?”

“Every three years or so, Fanny Brice says. I just read it in the paper.”

“I wonder how they manage it,” he said. “I know it’s true because I see them. But they look so convinced every time. And then suddenly they don’t look convinced. But they get convinced all over.”

“You’ve been making too many movies.”

“I wonder if they’re as convinced the second time or the third time or the fourth time,” he persisted.

“More each time,” I said. “Most of all the last time.”

He thought this over and seemed to agree.

“I suppose so. Most of all the last time.”

I didn’t like the way he said this, and I suddenly saw that under the surface he was miserable.

“It’s a great nuisance,” he said. “It’ll be better when it’s over.”

“Wait a minute! Perhaps pictures are in the wrong hands.”

Brimmer, the Party Member, was announced, and going to meet him I slid over to the door on one of those gossamer throw-rugs and practically into his arms.

He was a nice-looking man, this Brimmer – a little on the order of Spencer Tracy, but with a stronger face and a wider range of reactions written up in it. I couldn’t help thinking as he and Stahr smiled and shook hands and squared off, that they were two of the most alert men I had ever seen. They were very conscious of each other immediately – both as polite to me as you please, but with a softening of the ends of their sentences when they turned in my direction.

“What are you people trying to do?” demanded Stahr. “You’ve got my young men all upset.”

“That keeps them awake, doesn’t it?” said Brimmer.

“First we let half a dozen Russians study the plant,” said Stahr. “As a model plant, you understand. And then you try to break up the unity that makes it a model plant.”

“The unity?” Brimmer repeated. “Do you mean what’s known as The Company Spirit?”

“Oh, not that,” said Stahr, impatiently. “It seems to be me you’re after. Last week a writer came into my office – a drunk – a man who’s been floating around for years just two steps out of the bughouse – and began telling me my business.”

Brimmer smiled.

“You don’t look to me like a man who could be told his business, Mr. Stahr.”

They would both have tea. When I came back, Stahr was telling a story about the Warner Brothers and Brimmer was laughing with him.

“I’ll tell you another one,” Stahr said. “Balanchine the Russian Dancer had them mixed up with the Ritz Brothers. He didn’t know which ones he was training and which ones he was working for. He used to go around saying, ‘I cannot train these Warner Brothers to dance.’”

It looked like a quiet afternoon. Brimmer asked him why the producers didn’t back the anti-Nazi League.

“Because of you people,” said Stahr. “It’s your way of getting at the writers. In the long view you’re wasting your time. Writers are children – even in normal times they can’t keep their minds on their work.”

“They’re the farmers in this business,” said Brimmer pleasantly. “They grow the grain but they’re not in at the feast. Their feeling toward the producer is like the farmers’ resentment of the city fellow.”

I was wondering about Stahr’s girl – whether it was all over between them. Later, when I heard the whole thing from Kathleen, standing in the rain in a wretched road called Goldwyn Avenue, I figured out that this must have been a week after she sent him the telegram. She couldn’t help the telegram. The man got off the train unexpectedly and walked her to the registry office without a flicker of doubt that this was what she wanted. It was eight in the morning, and Kathleen was in such a daze that she was chiefly concerned about how to get the telegram to Stahr. In theory you could stop and say, “Listen, I forgot to tell you but I met a man.” But this track had been laid down so thoroughly, with such confidence, such struggle, such relief, that when it came along, suddenly cutting across the other, she found herself on it like a car on a closed switch. He watched her write the telegram, looking directly at it across the table, and she hoped he couldn’t read upside down…

When my mind came back into the room, they had destroyed the poor writers – Brimmer had gone so far as to admit they were “unstable.”

“They are not equipped for authority,” said Stahr. “There is no substitute for will. Sometimes you have to fake will when you don’t feel it at all.”

“I’ve had that experience.”

“You have to say, ‘It’s got to be like this – no other way’ – even if you’re not sure. A dozen times a week that happens to me. Situations where there is no real reason for anything. You pretend there is.”

“All leaders have felt that,” said Brimmer. “Labor leaders, and certainly military leaders.”

“So I’ve had to take an attitude in this Guild matter. It looks to me like a try for power, and all I am going to give the writers is money.”

“You give some of them very little money. Thirty dollars a week.”

“Who gets that?” asked Stahr, surprised.

“The ones that are commodities and easy to replace.”

“Not on my lot,” said Stahr.

“Oh, yes,” said Brimmer. “Two men in your shorts department get thirty dollars a week.”

“Who?”

“Man named Ransome – man named O’Brien.”

Stahr and I smiled together.

“Those are not writers,” said Stahr. “Those are cousins of Cecilia’s father.”

“There are some in other studios,” said Brimmer.

Stahr took his teaspoon and poured himself some medicine from a little bottle.

“What’s a fink?” he asked suddenly.

“A fink? That’s a strikebreaker or a company tec.”

“I thought so,” said Stahr. “I’ve got a fifteen hundred dollar writer that every time he walks through the commissary keeps saying ‘Fink!’ behind other writers’ chairs. If he didn’t scare hell out of them, it’d be funny.”

Brimmer laughed.

“I’d like to see that,” he said.

“You wouldn’t like to spend a day with me over there?” suggested Stahr.

Brimmer laughed with genuine amusement.

“No, Mr. Stahr. But I don’t doubt but that I’d be impressed. I’ve heard you’re one of the hardest working and most efficient men in the entire West. It’d be a privilege to watch you, but I’m afraid I’ll have to deny myself.”

Stahr looked at me.

“I like your friend,” he said. “He’s crazy, but I like him.” He looked closely at Brimmer: “Born on this side?”

“Oh, yes. Several generations.”

“Many of them like you?”

“My father was a Baptist minister.”

“I mean are many of them Reds. I’d like to meet this big Jew that tried to blow over the Ford factory. What’s his name – ”

“Frankensteen?”

“That’s the man. I guess some of you believe in it.”

“Quite a few,” said Brimmer dryly.

“Not you,” said Stahr.

A shade of annoyance floated across Brimmer’s face.

“Oh, yes,” he said.

“Oh, no,” said Stahr. “Maybe you did once.”

Brimmer shrugged his shoulders.

“Perhaps the boot’s on the other foot,” he said. “At the bottom of your heart, Mr. Stahr, you know I’m right.”

“No,” said Stahr, “I think it’s a bunch of tripe.”

“ – you think to yourself, ‘He’s right,’ but you think the system will last out your time.”

“You don’t really think you’re going to overthrow the government.”

“No, Mr. Stahr. But we think perhaps you are.”

They were nicking at each other – little pricking strokes like men do sometimes. Women do it, too; but it is a joined battle then with no quarter. But it is not pleasant to watch men do it, because you never know what’s next. Certainly it wasn’t improving the tonal associations of the room for me, and I moved them out the French window into our golden-yellow California garden.

It was midsummer, but fresh water from the gasping sprinklers made the lawn glitter like spring. I could see Brimmer look at it with a sigh in his glance – a way they have. He opened up big outside – inches taller than I thought and broad-shouldered. He reminded me a little of Superman when he takes off his spectacles. I thought he was as attractive as men can be who don’t really care about women as such. We played a round robin game of ping-pong, and he handled his bat well. I heard Father come into the house singing that damn Little Girl, You’ve Had a Busy Day, and then breaking off, as if he remembered we weren’t speaking any more. It was half past six – my car was standing in the drive, and I suggested we go down to the Trocadero for dinner.

Brimmer had that look that Father O’Ney had that time in New York when he turned his collar around and went with father and me to the Russian Ballet. He hadn’t quite ought to be here. When Bernie, the photographer, who was waiting there for some big game or other, came up to our table, he looked trapped – Stahr made Bernie go away, and I would like to have had the picture.

Then, to my astonishment, Stahr had three cocktails, one after the other.

“Now I know you’ve been disappointed in love,” I said.

“What makes you think that, Cecilia?”

“Cocktails.”

“Oh, I never drink, Cecilia. I get dyspepsia – I’ve never been tight.”

I counted them: “ – two – three.”

“I didn’t realize. I couldn’t taste them. I thought there was something the matter.”

A silly glassy look darted into his eye – then passed away.

“This is my first drink in a week,” said Brimmer. “I did my drinking in the Navy.”

The look was back in Stahr’s eye – he winked fatuously at me and said:

“This soap-box son-of-a-bitch has been working on the Navy.”

Brimmer didn’t know quite how to take this. Evidently he decided to include it with the evening, for he smiled faintly, and I saw Stahr was smiling, too. I was relieved when I saw it was safely in the great American tradition, and I tried to take hold of the conversation, but Stahr seemed suddenly all right.

“Here’s my typical experience,” he said very succinctly and clearly to Brimmer. “The best director in Hollywood – a man I never interfere with – has some streak in him that wants to slip a pansy into every picture, or something on that order. Something offensive. He stamps it in deep like a watermark so I can’t get it out. Every time he does it the Legion of Decency moves a step forward, and something has to be sacrificed out of some honest film.”

“Typical organization trouble,” agreed Brimmer.

“Typical,” said Stahr. “It’s an endless battle. So now this director tells me it’s all right because he’s got a Director’s Guild and I can’t oppress the poor. That’s how you add to my troubles.”

“It’s a little remote from us,” said Brimmer smiling. “I don’t think we’d make much headway with the directors.”

“The directors used to be my pals,” said Stahr proudly.

It was like Edward the Seventh’s boast that he had moved in the best society in Europe.

“But some of them have never forgiven me,” he continued, “for bringing out stage directors when sound came in. It put them on their toes and made them learn their jobs all over, but they never did really forgive me. That time we imported a whole new hogshead full of writers, and I thought they were great fellows till they all went red.”

Gary Cooper came in and sat down in a corner with a bunch of men who breathed whenever he did and looked as if they lived off him and weren’t budging. A woman across the room looked around and turned out to be Carole Lombard – I was glad that Brimmer was at least getting an eyeful.

Stahr ordered a whiskey and soda and, almost immediately, another. He ate nothing but a few spoonfuls of soup and he said all the awful things about everybody being lazy so-and-so’s and none of it mattered to him because he had lots of money – it was the kind of talk you heard whenever Father and his friends were together. I think Stahr realized that it sounded pretty ugly outside of the proper company – maybe he had never heard how it sounded before. Anyhow he shut up and drank off a cup of black coffee. I loved him, and what he said didn’t change that, but I hated Brimmer to carry off this impression. I wanted him to see Stahr as a sort of technological virtuoso, and here Stahr had been playing the wicked overseer to a point he would have called trash if he had watched it on the screen.

“I’m a production man,” he said, as if to modify his previous attitude. “I like writers – I think I understand them. I don’t want to kick anybody out if they do their work.”

“We don’t want you to,” said Brimmer pleasantly. “We’d like to take you over as a going concern.”

Stahr nodded grimly.

“I’d like to put you in a roomful of my partners. They’ve all got a dozen reasons for having Fitts run you fellows out of town.”

“We appreciate your protection,” said Brimmer with a certain irony. “Frankly we do find you difficult, Mr. Stahr – precisely because you are a paternalistic employer and your influence is very great.”

Stahr was only half listening.

“I never thought,” he said, “that I had more brains than a writer has. But I always thought that his brains belonged to me – because I knew how to use them. Like the Romans – I’ve heard that they never invented things but they knew what to do with them. Do you see? I don’t say it’s right. But it’s the way I’ve always felt – since I was a boy.”

This interested Brimmer – the first thing that had interested him for an hour.

“You know yourself very well, Mr. Stahr,” he said.

I think he wanted to get away. He had been curious to see what kind of man Stahr was, and now he thought he knew. Still hoping things would be different, I rashly urged him to ride home with us, but when Stahr stopped by the bar for another drink I knew I’d made a mistake.

It was a gentle, harmless, motionless evening with a lot of Saturday cars. Stahr’s hand lay along the back of the seat touching my hair. Suddenly I wished it had been about ten years ago – I would have been nine, Brimmer about eighteen and working his way through some mid-western college, and Stahr twenty-five, just having inherited the world and full of confidence and joy. We would both have looked up to Stahr so, without question. And here we were in an adult conflict, to which there was no peaceable solution, complicated now with exhaustion and drink.

We turned in at our drive, and I drove around to the garden again.

“I must go along now,” said Brimmer. “I’ve got to meet some people.”

“No, stay,” said Stahr. “I never have said what I wanted. We’ll play ping-pong and have another drink, and then we’ll tear into each other.”

Brimmer hesitated. Stahr turned on the floodlight and picked up his ping-pong bat, and I went into the house for some whiskey – I wouldn’t have dared disobey him.

When I came back, they were not playing, but Stahr was batting a whole box of new balls across to Brimmer, who turned them aside. When I arrived, he quit and took the bottle and retired to a chair just out of the floodlight, watching in dark dangerous majesty. He was pale – he was so transparent that you could almost watch the alcohol mingle with the poison of his exhaustion.

“Time to relax on Saturday night,” he said.

“You’re not relaxing,” I said.

He was carrying on a losing battle with his instinct toward schizophrenia.

“I’m going to beat up Brimmer,” he announced after a moment. “I’m going to handle this thing personally.”

“Can’t you pay somebody to do it?” asked Brimmer.

I signalled him to keep quiet.

“I do my own dirty work,” said Stahr. “I’m going to beat hell out of you and put you on a train.”

He got up and came forward, and I put my arms around him, gripping him.

“Please stop this!” I said. “Oh, you’re being so bad.”

“This fellow has an influence over you,” he said darkly. “Over all you young people. You don’t know what you’re doing.”

“Please go home,” I said to Brimmer.

Stahr’s suit was made of slippery cloth and suddenly he slipped away from me and went for Brimmer. Brimmer retreated backward around the table. There was an odd expression in his face, and afterwards I thought it looked as if he were saying, “Is this all? This frail half-sick person holding up the whole thing.”

Then Stahr came close, his hands going up. It seemed to me that Brimmer held him off with his left arm a minute, and then I looked away – I couldn’t bear to watch.

When I looked back, Stahr was out of sight below the level of the table, and Brimmer was looking down at him.

“Please go home,” I said to Brimmer.

“All right.” He stood looking down at Stahr as I came around the table. “I always wanted to hit ten million dollars, but I didn’t know it would be like this.”

Stahr lay motionless.

“Please go,” I said.

“I’m sorry. Can I help —”

“No. Please go. I understand.”

He looked again, a little awed at the depths of Stahr’s repose, which he had created in a split second. Then he went quickly away over the grass, and I knelt down and shook Stahr. After a moment he came awake with a terrific convulsion and bounced up on his feet.

“Where is he?” he shouted. “Who?” I asked innocently.

“That American. Why in hell did you have to marry him, you damn fool?”

“Monroe – he’s gone. I didn’t marry anybody.”

I pushed him down in a chair.

“He’s been gone half an hour,” I lied.

The ping-pong balls lay around in the grass like a constellation of stars. I turned on a sprinkler and came back with a wet handkerchief, but there was no mark on Stahr – he must have been hit in the side of the head. He went off behind some trees and was sick, and I heard him kicking up some earth over it. After that he seemed all right, but he wouldn’t go into the house till I got him some mouthwash, so I took back the whiskey bottle and got a mouthwash bottle. His wretched essay at getting drunk was over. I’ve been out with college freshmen, but for sheer ineptitude and absence of the Bacchic spirit it unquestionably took the cake. Every bad thing happened to him, but that was all.

* * *

We went in the house; the cook said Father and Mr. Marcus and Fleishacker were on the veranda, so we stayed in the “processed leather room.” We both sat down in a couple of places and seemed to slide off, and finally I sat on a fur rug and Stahr on a footstool beside me.

“Did I hit him?” he asked.

“Oh, yes,” I said. “Quite badly.”

“I don’t believe it.” After a minute he added: “I didn’t want to hurt him. I just wanted to chase him out. I guess he got scared and hit me.”

If this was his interpretation of what had happened, it was all right with me.

“Do you hold it against him?”

“Oh, no,” he said. “I was drunk.” He looked around. “I’ve never been in here before – who did this room? – somebody from the studio?”

“Somebody from New York.”

“Well, I’ll have to get you out of here,” he said in his old pleasant way. “How would you like to go out to Doug Fairbanks’ ranch and spend the night?” he asked me. “I know he’d love to have you.”

That’s how the two weeks started that he and I went around together. It only took one of them for Louella to have us married.

The manuscript stops at this point. The following synopsis of the rest of the story has been put together from Fitzgerald’s notes and outlines and from the reports of persons with whom he discussed his work:

Soon after his interview with Brimmer, Stahr makes a trip East. A wage-cut has been threatened in the studio, and Stahr has gone to talk to the stockholders – presumably with the idea of inducing them to retrench in some other way. He and Brady have long been working at cross-purposes, and the struggle between them for the control of the company is rapidly coming to a climax. We do not know about the results of this trip from the business point of view, but, whether or not on a business errand, Stahr for the first time visits Washington with the intention of seeing the city; and it is to be presumed that the author had meant to return here to the motif introduced in the first chapter with the visit of the Hollywood people to the home of Andrew Jackson and their failure to gain admittance or even to see the place clearly: the relation of the moving-picture industry to the American ideals and tradition. It is mid-summer; Washington is stifling; Stahr comes down with summer grippe and goes around the city in a daze of fever and heat. He never succeeds in becoming acquainted with it as he had hoped to.

When he recovers and gets back to Hollywood, he finds that Brady has taken advantage of his absence to put through a fifty percent pay-cut. Brady had called a meeting of writers and told them in a tearful speech that he and the other executives would take a cut themselves if the writers would consent to take one. If they would agree, it would not be necessary to reduce the salaries of the stenographers and the other low-paid employees. The writers had accepted this arrangement, but had then been double-crossed by Brady, who had proceeded to slash the stenographers just the same. Stahr is revolted by this; and he and Brady have a violent falling-out. Stahr, though opposed to the unions, believing that any enterprising office-boy can make his way to the top as he has done, is an old-fashioned paternalistic employer, who likes to feel that the people who work for him are contented, and that he and they are on friendly terms. On the other hand, he quarrels also with Wylie White, who he finds has become truculently hostile to him, in spite of the fact that Stahr was not personally responsible for the pay-cut. Stahr has been patient in the past with White’s drinking and his practical jokes, and he is hurt that the writer should not feel toward him the same kind of personal loyalty – which is the only solidarity that Stahr understands in the field of business relations. “The Reds see him now as a conservative – Wall Street as a Red.” But he finds himself driven by the logic of the situation to fall in with the idea which has been proposed and is heartily approved by Brady, of setting up a company union.

As for his own position in the studio, he had in Washington already thought of quitting; but, intimately involved in the struggle, ill, unhappy and embittered though he is, it is difficult for him to surrender to Brady. In the meantime, he has been going around with Cecilia. The girl in a conversation with her father about the attentions Stahr has apparently been paying her, has carelessly let Brady know that Stahr is in love with someone else. Brady finds out about Kathleen, whom Stahr has been seeing again, and attempts to blackmail Stahr. Stahr in disgust with the Bradys abruptly drops Cecilia. He on his side has known for years – having learned it by way of his wife’s trained nurse – that Brady had had a hand in the death of the husband of a woman with whom he (Brady) had been in love. The two men threaten one another with no really conclusive evidence on either side.

But Brady has an instrument ready to his hand. The man whom Kathleen has married – whose name is W. Bronson Smith – is a technician working in the studios, who has been taking an active part in his union. It is impossible to tell precisely how Scott Fitzgerald imagined the labor situation in Hollywood for the purposes of his story. At the time of which he is writing, the various kinds of technicians had already been organized in the International Alliance of Theatrical Stage Employees; and it is obvious that he intended to exploit the element of racketeering and gangsterism revealed in this organization by the case of William Bioff. Brady was to go to Kathleen’s husband and play upon his jealousy of his wife. We do not know what Fitzgerald intended that these two should try to do to Stahr. Robinson, the cutter (see the notes on this character), was originally to have undertaken to murder him; but it seems more probable from the author’s outline that Stahr was to be caught in some trap which would supply Kathleen’s husband with grounds for bringing a suit against Stahr for alienation of his wife’s affection. In Fitzgerald’s outline below, the theme of Chapter VIII is indicated by the words, “The suit and the price.” This is evidently partly explained by the following note of material which Fitzgerald intended to make use of, though it is impossible to tell how it was to be modified to meet the demands of the story: “One of the – brothers is accused by an employee of seducing his wife. Sued for alienation. They try to settle it out of court, but the man bringing suit is a labor leader and won’t be bought. Neither will he divorce his wife. He considers rougher measures. His price is that – shall go away for a year. – ’s instinct is to stay and fight it, but the other brothers get to a doctor and pronounce death sentence on him and retire him. He tries to get the girl to go with him, but is afraid of the Mann Act. She is to follow him and they’ll go abroad.”

In any case, Stahr is to be saved by the intervention of the camera man, Pete Zavras, whom he has befriended at the beginning of the story, when Zavras had lost his standing with the studios.

In the meantime, Stahr is now seriously ill. He and Kathleen have been “taking breathless chances.” They have succeeded in having “one last fling,” which has taken place during an overpowering heat wave in the early part of September. But their meetings have proved unsatisfactory. The author has indicated in an early sketch that Kathleen was to “come of very humble parents” – her father was to have been the captain of a Newfoundland fishing smack; and in another place he says that Stahr has found it difficult to accept her as a permanent part of his life because she is “poor, unfortunate, and tagged with a middle-class exterior which doesn’t fit in with the grandeur Stahr demands of life.” It is possible that the labor conflict in which her husband has become involved was intended to alienate her and Stahr. Stahr is now being pushed into the past by Brady and by the unions alike. The split between the controllers of the movie industry, on the one hand, and the various groups of employees, on the other, is widening and leaving no place for real individualists of business like Stahr, whose successes are personal achievements and whose career has always been invested with a certain personal glamor. He has held himself directly responsible to everyone with whom he has worked; he has even wanted to beat up his enemies himself. In Hollywood he is “the last tycoon.”

Stahr has not been afraid, as we have seen in the conference in Chapter III, to risk money on unpopular films which would afford him some artistic satisfaction. He has had a craftsman’s interest in the pictures, and it has been natural for him to want to make them better. But he has been “lying low” since the wage-cut and has ceased to make pictures altogether. There was to have been a second series of scenes showing him at a story conference, at the rushes and on the sets, which was to have contrasted with the similar series in Chapters III and IV, and to have shown the change that has taken place in his attitude and status.

He must, however, stand up to Brady, who he knows will stop at nothing. He evidently fears Brady will murder him, for he now decides to resort to Brady’s own methods and get his partner murdered. For this he apparently goes straight to the gangsters. It is not clear how the murder is to be accomplished; but in order to be away at the time, Stahr arranges a trip to New York. He sees Kathleen for the last time at the airport, and also meets Cecilia, who is going back to college on a different plane. On the plane he has a reaction of disgust against the course he has taken; he realizes that he has let himself be degraded to the same plane of brutality as Brady. He decides to call off the murder and intends to wire orders as soon as the plane descends at the next airport. But the plane has an accident and crashes before they reach the next stop. Stahr is killed, and the murder goes through. The ominous suicide of Schwartz in the opening chapter of the story is thus balanced by the death of Stahr. In the note that Schwartz had sent him, he had been trying to warn him against Brady, who had long wanted to get Stahr out of the company.

* * *

Stahr’s funeral, which was to have been described in detail, is an orgy of Hollywood servility and hypocrisy. Everybody is weeping copiously or conspicuously stifling emotion with an eye on the right people. Cecilia imagines Stahr present and can hear him saying “Trash!” The old cowboy actor, Johnny Swanson, who has been mentioned at the beginning of Chapter II and for whom in his forlorn situation Cecilia has later had the idea of trying to do something at the time of her visit to her father’s office, has been invited to the funeral by mistake – through the confusion of his name with someone else’s, – and asked to officiate as pall-bearer along with the most intimate and important of the dead producer’s friends. Johnny goes through with the ceremony, rather dazed; and then finds out, to his astonishment, that his fortunes have been gloriously restored. From this time on, he is deluged with offers of jobs.

In the meantime, a final glimpse of Fleishacker, the ambitious company lawyer, a man totally without conscience or creative brains, was to have shown him as prefiguring the immediate future of the moving-picture business. There was also to have been a passage toward the end between Fleishacker and Cecilia, in which the former, who has been to New York University and who was perhaps to have tried to marry Cecilia, was to have attempted a conversation with her on an “intellectual” plane.

Cecilia, on the rebound from Stahr, has had an affair with a man she does not love – probably Wylie White, who has been after her from the first and who represents the opposition to Stahr. As a result of the death of Stahr and the murder of her father, she now breaks down completely. She develops tuberculosis, and we were to learn for the first time at the end that she has been putting together her story in a tuberculosis sanitarium. (See the first of the fragments under Cecilia.)

We were to have had a final picture of Kathleen standing outside the studio. She has presumably separated from her husband as a result of the plot against Stahr. It had been one of her chief attractions for Stahr that she did not belong to the Hollywood world; and now she knows that she is never to be part of it. She is always to remain on the outside of things – a situation which also has its tragedy.