Complete Works of F. Scott Fitzgerald (Illustrated) (166 page)

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 Flieshacker were on the verandah 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 was constructed from Fitzgerald’s notes:

SYNPOSIS OF THE REST OF THE NOVEL

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 nave 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 overpower’ ing 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 inthe 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 YorkUniversity 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 die 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.

FITZGERALD’S NOTES FOR
The Last Tycoon

Chapter I

The author has written at the top of his last draft of the first chapter, as given here:

Rewrite from mood. Has become stilted with rewriting. Don’t look [at previous draft]. Rewrite from mood.

Page 20. Fitzgerald’s first sketch for the end of the chapter perhaps conveys his idea more completely than he had succeeded in doing in this draft:

This will be based on a conversation that I had with —  — the first time I was alone with him in 1927, the day that he said a thing about railroads. As near as I can remember what he said was this:

We sat in the old commissary at —  — and he said, “Scottie, supposing there’s got to be a road through a mountain — a railroad, and two or three surveyors and people come to you and you believe some of them and some of them you don’t believe, but all in all, there seem to be half a dozen possible roads through those mountains, each one of which, so far as you can determine, is as good as the other. Now suppose you happen to be the top man, there’s a point where you don’t exercise the faculty of judgment in the ordinary way, but simply the faculty of arbitrary decision. You say, ‘Well, I think we will put the road there,’ and you trace it with your finger and you know in your secret heart, and no one else knows, that you have no reason for putting the road there rather than in several other different courses, but you’re the only person that knows that you don’t know why you’re doing it and you’ve got to stick to that and you’ve got to pretend that you know and that you did it for specific reasons, even though you’re utterly assailed by doubtsat times as to the wisdom of your decision, because all these other possible decisions keep echoing in your ear. But when you’re planning a new enterprise on a grand scale, the people under you mustn’t ever know or guess that you’re in any doubt, because they’ve all got to have something
to
look up to and they mustn’t ever dream that you’re in doubt about any decision. Those things keep occurring.”