[Kathleen and her husband?]
He found her in the cabin, just standing, thinking. He was afraid of her when she thought, knowing that in the part of her most removed from him, there was taking place a tireless ratiocination, the synthesis of which has always a calm sense of the injustice and unsatisfactions of life. He knew the [?] with which her mind worked, but he was always surprised that it brought forth in the end protests that were purely abstract, and in which he figured only as an element as driven and succorless as herself. This made him more afraid than if she said, "It was your fault," as she frequently did--for by it she seemed to lift the situation and its interpretation out of his grasp. In that region his mind was more feminine than hers--he felt light, and off his balance--and a little like the Dickens character who accused his wife of praying against him.
Stahr and Kathleen
Object: I wanted a seduction--very Californian, yet new--very Hollywood, say. If he has no illusion, he has at least great pity and excitement, friendliness, stimulus, fascination.
Where will the warmth come from in this? Why does he think she's warm? Warmer than the voice in Farewell to Arms. My girls were all so warm and full of promise. What can I do to make it honest and different?
The sea at night. Como. St.-Pol (used in Tender). Why are French romances cold and sad au fond?--why was Wells warm?
General Mood. Shaken by the flare-up, they go back, she still thinking she can withdraw. She could not bear to think. It was tonight. It is a murky, rainy dusk, a dreary day (change former time to sunset). They left the hotel a little more than three hours ago, but it seemed a long time. Get them there quickly. Odd effect of the place like a set. The mood should be two people--free. He has an overwhelming urge toward the girl, who promises to give life back to him--though he has no idea yet of marriage--she is the heart of hope and freshness. He seduces her because she is slipping away--she lets herself be seduced because of overwhelming admiration (the phone call). Once settled, it is sensual, breathless, immediate, then gentle and tender for awhile.
She was very ready and it was right. It would have been good any time, but for the first time it was much more than he had hoped or expected. Not like very young people, but wise and fond and chokingly sweet, as it had been with Minna when sometimes they had gone for many days. He was away for a hundred miles for a visit to himself, but he did not let her see.
This girl had a life--it was very seldom he met anyone whose life did not depend in some way on him or hope to depend on him.
Robinson
These passages about Robinson all relate to an earlier plan for the story. The author had discarded his original idea of having Kathleen have a love affair with Robinson, but the latter was perhaps still to figure as the agent selected by Brady to put Stahr out of the way. Kathleen is here called Thalia.
I would like this episode to give a picture of the work of a cutter, camera man or second unit director in the making of such a thing as Winter Carnival, accenting the speed with which Robinson works, his reactions, why he is what he is instead of being the very high-salaried man which his technical abilities entitle him to be. I might as well use some of the Dartmouth atmosphere, snow, etc., being careful not to impinge at all on any material that Walter Wanger may be using in Winter Carnival or that I may have ever suggested as material to him.
I could begin the chapter through Cecilia's eyes, who is a guest at the carnival, skip quickly to Robinson and have them perhaps meet at a telegraph desk where she sees him sending a wire to Thalia. But by this time and through the material I choose--photographing backgrounds for the snow picture--I should not only develop the character of Robinson as he is, but leave a loophole showing the possibility of his being later corrupted. In a very short transition or montage, I bring the whole party West on the Chief. Cecilia, perhaps with friends of her own, coaxes the producer who has been in charge (ineffectual producer) and Robinson.
The man chosen tentatively to put Stahr out of the way is Robinson the cutter. Must develop Robinson character so that this is possible--that is, Robinson now has three aspects. His top possibility as a sort of Sergeant---character as planned. His relation with the world, which is conventional and rather stereotyped and trite; and this new element, in which it would be possible for him to be so corrupted by circumstances as to be drawn into such a matter and used by Bradogue. To do this it is practically necessary that there must be from the beginning some flaw in Robinson in spite of his courage, his resourcefulness, his technical expertness and the Sergeant---virtues I intend to give him. Some secret flaw--perhaps something sexual. It might be possible, but if I do that, then he could have had no relation with Thalia, who certainly would not have accepted a bad lover. Perhaps he would have some flaw, not sexual--not unmanly--in any case have no special idea at present, and this must be invented. In any case, his having loved Thalia would make him a very natural tool for Bradogue to use in playing on his natural jealousy of Stahr.
[Thalia] has been having an affair intermittently, of which she is half ashamed, with the character whom I have called Robinson, the cutter, who is in his (and this is very important) professional life an extraordinarily interesting and subtle character on the idea of Sergeant---in the army or that cutter at United Artists whom I so admired or any other person of the type of trouble shooter or film technician--and I want to contrast this sharply with his utter conventionality and acceptance of banalities in the face of what might be called the cultural urban world. Women can twist him around their little finger. He might be able to unravel the most twisted skein of wires in a blinding snowstorm on top of a sixty-foot telephone pole in the dark with no more tools than an imperfect pair of pliers made out of the nails of his boots, but faced with the situation which the most ignorant and useless person would handle with urbanity he would seem helpless and gawky--so much so as to give the impression of being a Babbitt or of being a stupid, gawky, inept fellow.
This contrast at some point in the story is recognized by Stahr, who must at all points, when possible, be pointed up as a man who sees below the surface into reality.
Her attitude towards this man has been that even in the niceties of love-making she has had to be his master, and his deep gratitude to her is allied to his love for her, though throughout the story he always feels that she is inevitably the superior person. Stahr at some point points it out to her that this is nonsense and I want to show here something different in men's and women's points of view: particularly that women are prone to cling to an advantage or rather have less human generosity in points of character than men have, or do I mean a less wide point of view?
Stahr nodded and walked along at the head of his gang. Robinson, who was almost beside him, but a little behind, was a hard-jawed technician--supposed to be the best cutter in Hollywood. I didn't come in contact with that class, but I know Robinson was such a good cutter that often he had been asked to direct a picture. He had tried once, back in the silent days, and it was a failure. Never, never would a man like Jack Robinson want to steer a venture, if I know what I'm talking about. From the time he was called from his job on top of telephone posts in Michigan thunderstorms to the intricate task of trying, as a sergeant, to establish tangible liaison with the artillery in his infantry division. At that point when he found that an uneducated trouble-shooter was worth a dozen hit-or-miss shavetails, called "signal officers," he had lost faith in his superiors and never afterward wanted to be anything except a liaison between what was commanded from above and what could be done below.
There was something warm about him that Stahr liked. Often he would edge up to Stahr, sensing the truth or falsity in some story--but in practice his advice faded to, "Oh, what the hell--what do these---s know? All right. Go on. Where do we run these wires? Sure, it's a great idea."
Crash of the Plane
Fitzgerald had sketched in some detail the episode of the children finding the fallen plane, which is mentioned in the letter to his publisher. He had at one poi
nt decided to discard this, as he thought that the account of Stahr's funeral would make a better epilogue; but a note evidently written at a later time shows that he was still considering it.
It is important that I begin this chapter with a delicate transition, because I am not going to describe the fall of the plane, but simply give a last picture of Stahr as the plane takes off, and describe very briefly in the airport the people who are on board. The plane, therefore, has left for New York, and when the reader turns to Chapter X, I must be sure that he isn't confused by the sudden change of scene and situation. Here I can make the best transition by an opening paragraph in which I tell the reader that Cecilia's story ends here and that what is now told was a situation discovered by the writer himself and pieced together from what he learned in a small town in Oklahoma, from a municipal judge. That the incidents occurred one month after the plane fell and plunged Stahr and all its occupants into a white darkness. Tell how the snow hid the wreck and that in spite of searching parties the plane was considered lost, and then will resume the narrative--that a curtain first went up during an early thaw the following March. (I have to go over all the chapters and get the time element to shape up so that Stahr's second trip to New York, the one on which he is killed, takes place when the first snow has fallen on the Rockies. I want this plane to be like that plane that was lost for fully two months before they found the plane and the survivors.) Consider carefully whether if possible by some technical trick it might not be advisable to conceal from the reader that the plane fell until the moment when the children find it. The problem is that the reader must not turn to Chapter X and be confused, but, on the other hand, the dramatic effect, even if the reader felt lost for a few minutes, might be more effective if he did not find at the beginning of the chapter that the plane fell. In fact, almost certainly that is the way to handle it, and I must find a method of handling it in that fashion. There must be an intervening paragraph to begin Chapter X which will reassure the reader that he is following the same story, but it can be evasive and confine itself to leading the reader astray thinking that the paragraph is merely to explain that Cecilia is not telling this next part of the story without telling the reader that the plane ran into a mountain top and disappeared from human knowledge for several months.
When I have given the reader some sense of the transition and prepared him for a change in scene and situation, break the narrative with a space or so and begin the following story. That a group of children are starting off on a hike. That there is an early spring thaw in this mountain state. Pick out of the group of children, three whom we will call Jim, Frances, and Dan. That atmosphere is that particular atmosphere of Oklahoma when the long winter breaks. The atmosphere must be an all-cold climate where the winter breaks very suddenly with almost a violence--the snow seems to part as if very unwillingly in great convulsive movements like the break-up of an ice floe. There's a bright sun. The three children get separated from the teacher or scoutmaster or whoever is in charge of the expedition, and the girl, Frances, comes upon a part of the engine and fly-wheel of a broken airplane. She has no idea what it is. She is rather puzzled by it and at the moment is engaged rather in a flirtation with both Jim and Dan. However, she is an intelligent child of thirteen or fourteen and while she doesn't identify it as part of an airplane, she knows it is an odd piece of machinery to be found in the mountains. First she thinks it is the remains of some particular mining machinery. She calls Dan and then Jim, and they forget whatever small juvenile intrigue they were embarking on in their discovery of other debris from the fall of the plane. Their first general instinct is to call the other members of the party, because Jim, who is the smartest of the children (both the boys' ages about fifteen), recognizes that it is a fallen plane--though he doesn't connect it with the plane that disappeared the previous November--when Frances comes upon a purse and an open travelling case which belonged to the actress. It contains the things that to her represent undreamt of luxuries. In it there's a jewel box. It has been unharmed--it has fallen through the branches of a tree. There are flasks of perfume that would never appear in the town where she lives, perhaps a negligee or anything I can think of that an actress might be carrying which was absolutely the last word in film elegance. She is utterly fascinated.
Simultaneously Jim has found Stahr's briefcase--a briefcase is what he has always wanted, and Stahr's briefcase is an excellent piece of leather--and some other travelling appurtenances of Stahr's. Things that are notably possessions of wealthy men. I have no special ideas at present, but think what a very wealthy, well-equipped man might be liable to have with him on such an expedition and then Dan makes the suggestion of "Why do we have to tell about this? We can all come up here later, and there is probably a lot more of this stuff here, and there's probably money and everything--these people are dead, they will never need it again--then we can say about the plane or let other people find it. Nobody will know we have been up here."
Dan bears, in some form of speech, a faint resemblance to Bradogue. This must be subtly done and not look too much like a parable or moral lesson, still the impression must be conveyed, but be careful to convey it once and not rub it in. If the reader misses it, let it go--don't repeat. Show Frances as malleable and amoral in the situation, but show a definite doubt on Jim's part, even from the first, as to whether this is fair dealing even towards the dead. Close this episode with the children rejoining the party.
Several weeks later the children have now made several trips to the mountain and have rifled the place of everything that is of any value. Dan is especially proud of his find, which includes some rather disreputable possessions of Ronciman. Frances is worried and definitely afraid and tending to side with Jim, who is now in an absolutely wretched mood about the whole affair. He knows that searching parties have been on a neighboring mountain--that the plane has been traced and that with the full flowering of spring the secret will come out and that each trip up he feels that the danger is more and more. However, let that be Frances' feeling, because Jim has, by this time, read the contents of Stahr's briefcase and late at night, taking it from the woodshed where he has concealed it, has gotten an admiration for the man. Naturally, by the time of this episode all three children are aware of what plane it was and who was in it and whose possessions they have.
One day also they have found the bodies, though I do not want to go into this scene in any gruesome manner, of the six or seven victims still half concealed by the snow. In any case, something in one of Stahr's letters that Jim reads late at night decides him to go to Judge---and tell the whole story, which he does against the threats of Dan, who is bigger than he is and could lick him physically. We leave the children there with the idea that they are in good hands, that they are not going to be punished, that they have made full restoration, and the fact that, after all, they could plead in court that they did not know anything more about the situation than "finders keepers." There will be no punishment of any kind for any of the three children. Give the impression that Jim is all right--that Frances is faintly corrupted and may possibly go off in a year or so in search of adventure and may turn into anything from a gold digger to a prostitute, and that Dan has been completely corrupted and will spend the rest of his life looking for a chance to get something for nothing.
I cannot be too careful not to rub this in or give it the substance or feeling of a moral tale. I should [show] very pointedly that Jim is all right and end perhaps with Frances and let the readers hope that Frances is going to be all right and then take that hope away by showing the last glimpse of Frances with that lingering conviction that luxury is over the next valley, therefore giving a bitter and acrid finish to the incident to take away any possible sentimental and moral stuff that may have crept into it. Certainly end the incident with Frances.
Effect on children idea persists. Plane might fall in suburb of Los Angeles. He thinks it was hills, but it's right there--a desolation he helped to create.
Holl
ywood, Etc.
It is impossible to tell you anything of Stahr's day except at the risk of being dull. People in the East pretend to be interested in how pictures are made, but if you actually tell them anything, you find they are only interested in Colbert's clothes or Gable's private life. They never see the ventriloquist for the doll. Even the intellectuals, who ought to know better, like to hear about the pretensions, extravagances and vulgarities--tell them pictures have a private grammar, like politics or automobile production or society, and watch the blank look come into their faces.
I could try, for instance, to make you understand what Stahr meant by his peculiar use of the word "nice," something like what Saint-Simon meant by la politesse, and you would classify what I had said as a lecture on taste.
The Warner Brothers narrative writing and the Metro dramatic, packed--cut back and forth writing from Stahr.
[Stahr and Prince Agge]
"Come on: we'll go get some lunch." Casually he added: "Broaca is the best man in Hollywood except Lubitsch and Vidor. But he's getting old and it makes him cross. He doesn't see that a director isn't everything in pictures now. That comes from the days when they shot off the cuff."
"The cuff?"
They started out the door. Stahr laughed.
"The director was supposed to have the plot on his cuff. There wasn't any script. Writers were all called gag-men--usually reporters and all souses. They stood behind the director and made suggestions, and if he liked it and it fitted with what was on his cuff, he staged it and took his footage."
The situation on the big lot was that every producer, director and scenarist there could adduce proof that he was a money-maker. With the initial distrust of the industry by business, with the weeding out of better men from the needs of speed, with the emphasis as in a mining camp on the lower virtues; then with the growing complication of technique and the elusiveness it created--it could fairly be said of all and by all of those who remained that they had made money--despite the fact that not a third of the producers or one-twentieth of the writers could have earned their living in the East. There was not one of these men, no matter how low-grade or incompetent a fellow, who could not claim to have participated largely in success. This made difficulty in dealing with them.