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    Moonlight Magnolias(5)

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    730 views32 pages

    Moonlight Magnolias

    Uploaded by

    Kimball Finigan

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    DRAMATISTS PLAY SERVICE, INC. PLAN TIKE WY AIEMMETES OE THE DaRAMATIS's GUILD (O1 E1E AUT HIDES LEAGUE OF AMERICA HANDLING OF FIP ACHING RIGHTS OF MEMBERS’ PLAYS {Hb PSC GUIRALEMUN'T OF THE AMERICAN THEATRE ‘uae Soy New Yk SY L016 0 wwwedt MOONLIGHT AND MAGNOLIAS By RON HUTCHINSON * DRAMATISTS PLAY SERVIC MOONLIGHT AND MAGNOLIAS ‘Copyright © 2005, Saint Genny’ Protons ns AIL Rig Reserved CAUTION: Piofisionals and amateur ae heriy ware tat penn et eopayenct ofr ffl of de Unite Sates OF Amery sa of lf ceui jon Gincaling ie Domino of Caade nd ofall counties covered hy the ae Iteral Copyright Convention, the Bern= ch she United Sete epoca opyre iouallatue mage sigh foto le ltr broadcasting, telerion, video, of sound al went neat che CP ps an cto syste and pews an rg katyunes asc reese. Paice em ‘imino for Wich ust be seated on {ve Fa langage sk asst tape pesfnnance sigh in da Unica Sta, ae a Comal or RASONTAGHTT ANT) MAGROLIAS se [vey iy GIAMATTI sts PLAY SEUVICE, INC. 440 Park Avenue ioe Wake IW 10 Bs ents or seoleional performance of tke lay poesia sian sas se mages of DAMA Te HAAN ive E120 nd japan eee lors shonll br aldresied v0 Wiliam Mosts Agena, ‘iv Tah Thay Now Wonk BE 10019. Aver Per PECIAL NOTE raduce MOONLIGHT. AND MAGNOLIAS is aol and exchsive Auhoe ofthe Play onthe tated connec wt prormanen oe Pay ard Tile of he Ply appeses for purposes of advertising pb ting the Pay andl 2 presdcton tea. The rare af he aaj ie a wick Re other name sppeesimmedatdy tae ypc equal 30% ofthe sie a the ages moet prot el the Day. No person, fmm or ena may receive cect tac acooded he Author. The folowing acknoreds Tete page inal poy diet in conneston wth pte and sal sdvetiing and publicay in whieh full producton frye sper fee a owns aed Maia wa oxigially produced in New York Cig iy he Maataa Theatre Calon March 3, 2005, | you Meadow, Artic Dscetor Baty Grows, Execusve Producer, he Wit Premiere was produced by ve Galina sie, Chagnon May 15, 2004, fir fae: Avra es; Rowe Schaller, Faget: Deon MOONLIGHT AND MAGNOLIAS was originally produced The Goodman Theatre (Robert Falls Acisie Ditceron Rocke Schulfer, Executive Director) in Chicago, Wlinois, opening on May 15, 2004. Ik was directed by Steven Robman; the set and lighting design were by Michael Philippi; the costume design was by Birgit Rattenborg Wise; the sound design was by Richard Woodbury: the stage manager was Ellen Hay; and the production stage manager was Kimberly Osgood. The cast was as follows BEN HECHT se Wil VictoR FuENNG 2 rob Rise DAVID O.SELENICK fon oruck MISS POPPENGHUL Mary Seibel CHARACTERS BEN HECHT VICTOR FLEMING DAVID ©. SELZNICK MISS POPPENGHUL, PLAC A tollywood sitio to, office of legendary proadinee David O. Selznick. VIME bo, MOONLIGHT AND MAGNOLIAS ACY ONE Scene 1 The lights rte on am office on a Hollywood sudo losin 1939, Its the offce of legendary producer David O. Selanick. Theres scare pled bigh with breaks fod in the center of he room — bagels, pastries, uit, juices. Pink early morning Les “Angeles sunlight floods in through the blind. There are too door leading off — one gosto the outer office, the other to she bashroom. There are neo men in the room. One is Selanick himself. dresed in a sharply cut busines sit, collar and te. The eer is xreemariter and playwright Ben Hecht, in casual lacks and jacket, Selanick on his fee, loking at Heche, who’ tat the cart rrying wo decide what teat, dish coer in hand. ‘Selick loks as if he jus had sore very bad news — SELZNICK. You dida' read it? WEN HECHT. No. SELZNICK. You didnt read iv? BEN HECHT. No. (Selznick thinks for a moment, tries again.) SELZNICK. You didnt read the book? EN HECHT. No. SELZNICK. You didn’ read the book? WEN HECHT. No, SELZNICK. You know what book I'm talking about BUEN HECHT. Yes SELANICK. This booke (Efe grabs a shick volume af'Gone with she Wind fiom a shelf) BEN HECHT. I didn’ read it SELZNICK, ‘Then what are you doing here? BEN HECHT. You said you needed me. SELZNICK. I need you to read she book. BEN HECHT. Okay — (He ses the dish coner down, taker he Book, curls up in the armcbain as ifseitling down for & long read.) SELZNICK, What ate you doing? BEN HECHT. Reading the book. SLZNICK. You're rvnding the book? BEN HECHT. Yos SPLZNICK. You dou dake shen grins, relied} HEN HECITE: No, SET ZNICK. 1S 0 gt HEEL TISCTEY We HEL ZTICE Vartyboady ithe wotkl has wad she book, AETETIPCHIE Bor me IHU ATIIC Be Nout fone abo the Bok? HTT HbC TEE tame with the 7 Sure read he first page. Feb seL FIMO dole? [V7 HICH. Moonlight and mognolias? Girmme a break SEL ZSHCK Yo kuow why youre here? IVE THECIEL, You have a czeenplay problem, you nexd the die loggue pans od up, some characer stuf Fixed? Why ese would you sal ane a NELZNICK. 1 need a whole new scenati. HEN HECHT, You've been shooting for three weeks. SET ZNICK, 1 dosed production dove. HN ITHCHIT, You did whae? SIT ZNICK, i'm not shooting another foot of film uncil I have a sertaio [ary believe in. THIN TIECHET. You closed down the biggest movie in Hollywood MI LANICK, iv in debe up 10 here, ¥ could lose the sudo, my Links cule tition, the house — (He pres the intercon, speak: to Iw wantant, Mis Pappenghnd, in he oster office) Miss Poppengiul to tead the hook. (He arches pting me on, right? RET) HIECLEE, You wenr into production without « sercenpla? T/MUCK. Fahne | Tol a screenplay, ve been working ost it ine wears (lis Papper enters) ‘MISS POPPENGHUL. Yes, Me. Selick? SELZNICK. {5 Fleming on the lot yer? MISS POPPENGHUL. No, Mr. Selznick. SELZNICK. We sent the car for him, right? MISS POPPENGHUL. Yes, Mc Selnick. SELZNICK. The studio car? MISS POPPENGHUL, Yes, Mr. Selznick. SELZNICK. And he's not here yee? MISS POPPENGHUL. No, Mr. Selznick, SELZNICK. Did it gt there? MISS POPPENGHUL. Thirty minutes ago I checked personally SELZNICK. With a phone call? MISS POPPENGHUL. Yes, Mr. Selznick. SELZNICK. Thae you made yoursel MISS POPPENGHUL. Yes, Mr. Se SELZNICK. To his house? MISS POPPENGHUL. Yes, Mr, Selick. SELZNICK, Where he lives MISS POPPENGHUL, Yes, Mr. Selznick. SELZNICK, want him in here the moment he attives. MISS POPPENGHUL. Yes, Mr. Selznick. (She leaves.) BEN HECHT. Does Cukor agree with closing the movie down? SELZNICK. George Cukor is no longer the ditector of Gone with she Wind. BEN HECHT, You fired him? SELZNICK, Last night. [es my studio, my picture, Tea do any stun thing TL want — KUN HECHT. Hes your bestfriend, SELZNICK. You think that made it any easier? BEN HECHT, Your kids call him Uncle George SELZNICK. Thank you. REN HECHT, Uncle George SULZNICK. (Warning) Ben — BEN HECHT. Mayer okayed this? SELZNICK. Louis B. Mayer has only fifty percent of this picture. Us creative control, He gets half the profits, I get all the ulcers. MEN HECHT. But you dont have a screenplay? SELZNICK. T have you. WEN LICHT. T didnit read the — SELYNICK, Dorit keep saying that — (Agomized.) You didn't rad the Yowive the only person of the fee of the planet (2s fis 7 Imac) read heft — (He como himself) —This novel —for your information — i the biggest sensation in publishing histery. ies about a nation torn in two, an entte civilization having co decide between the modem world and its past, The heroine is Scarlett O'Hara, which I ean belive you donit know, consider ng Te been searching for an actress to play her for the last couple of years — (Remembering something.) Twenty teconds — (He proses ‘he insercom agatin —) MISS POPPENGHUL. Yes, Me, Selanich? SELZNICK. Memo to Wanlrobe, Tim not happy with Miss Leigh's red dress. She's got a pair of boobs, let's make sure we can get a look acthem. More cleavage MISS POPPENGIIUL. Mate cleavage, yes, Mr. Selznick SEUANICK, Any sige of leming yer MISS POPPENGIIUL, No, Mi. Selznick. (Selznick eurns back to Heel.» SBLANICK. Svatlet yes? Fiphs to rebuild ‘Tara, just as the wanders tel to fun a say to keep going through the Depression — WEN TECHIE. Lana (Phe ianercann bnzeer soninds —) Nils POPTENGHUL. Hedda Hopper on line one, Mr. Selznick woh and grabs she plone HPI No, Heska, [have not closed production down — I slonit know shew youite getting your information from — (It baer ggun All. POPPENGHUL, Louella Parsons om line two, Mr, Selznick, He guts anatber phone — SPLZNICK. ‘That's the most ridiculous ching I ever heard — clase shun Coun with the Wind afer three weeks? (The iutersom buzver rently Iulding the boul, tris to ges back ont tnack MISS FOPPENGHUL. Ed Sulivan on line one, Me, Selanick Ue goa she shied phone —) NICK. ‘Trouble? On Gone with the Wind? You know yould be she fis person Ud cll iFanything like chae ever happened, Sully — tn tests the phone down.) 1 give you ten thousand dollar (Hevbt is abeudy beading tnvards the door) Twelve. Fifteen. No vplay movie. No movie? — no more Selznick studios. Nisan Selick Studios? — Fm back working for my fathes oat Variation, Failure, You want that for me? WEN HECHTE Uidat read che — “AL ZNICK. Say that once more-— (He martes a naked appeal to tm Vin me, Bea, Not for Mayet, not even for the movie 8 One week thal SELZNICK. A wea? BEN HECHT That ll] can gv you SELZNICK. (Diselonng) Boe BEN HECHT: One meek youte atthe only on wth dead lines. (Heche turns back from the dow, heads towards the food cart.) SELZNICK, Where are you going? a : BEN HECHT. Beg SELZNICK. You dont hive time BEN HECHT, Is sx in she moraing SELZNICK. Tim paying you to wet or et, nad you concentation hee (He hows span he das th eer epee Heoming-~ (He slant tha, putes Hee bad bos We ee Now 2 everybody on Gods Coed Gicen Each bur yon tang Cine he Wind eke place dang the Ciel Wag BEN HECHT. Ths your Bie pls No Chi Wr movi aren GREG. “hag so go int epee, ke BEN'HECHT. Or eer wil — ELZNICK. (izing pen) Okay okay .. Rolow me here Orertce Fron cei Leia on te HEN HECHT. Sure Tact SELZNICK. The O'Hare plantain in Georgia —hink pila, ‘se covion ls, OF Mas free —~hov fea ban eae hot. (Withowr warning he grabs Heche by the lapels —-} Sh beavers ~ land, land, land is the only thing thet ew 2 yee Ine an =~ (Heh pul bck st) HEN FIECHE Devt SELZINICK, Ged O'Has. Scse fh: (Selick secs i sna pal bine anrigh sming Elen Oboe oe «French acnt) ~~ Her entber len Rolland Oe ge ‘Fit es erie gente (epee too dnd shear at on inp rin 0 onanitng Ble MIN HECHT. (Wining) Trey the dep ee hig (Sclnchi geting in the groove —) i SHLANICK. Her mothers the only pewon tht Scart 07 huscws benafaidal (Heike coquihpne Faced (nnn anu fer on chck ) Seater hen Nee net hele ea gh haan ron ives savesaeqraed angle against the couch, ts an imaginary mane ofred Ir back, whispers languarously — ) Why fiddle de dee — WEN HECHT. Oy — (Selenick pulls omselfuprighe again — SELZNICK. The men. Think spurs, boos, buttons, ravats — (He civeles an imaginary enemy, jabbing and weaving —) Every one of chem desperately in Jove with Searlete — yes? — who has nothing in her prey lise head but dreamy old Asbley Wilkes BEN HECHT, Ashley? (Selenoh oie at bis desk, strikes a poe over book —} SELZNICK. Proud, cule, Mozart, Europe, books, the obve, inceroint — (Heehs ges the idea -—} SELZNICK and HECHT. No spars — a SELZNIGK. You get the msn chasers? (Ashe explains the nara ing up} Were the movie opens Scarlets convinced thae Ashley lve fo Te, Th she discovers that Ashley is sll tn vatty Melani Hans, his wen cousin EN TIVCTET Bs thas by SELZNICK Ie she South, Seat has aways been sute thar Ashley te os Wh sels he nse asumes is mie "teil, ceuble mistake. She thinks he’ going to elope wi It He says I tt be. Nobody’ ever sid no to her before. She nus Hvar be We cat be, I eam be, Te cat be. Te can be — BEN TIECIET. 1 get the idea, SHIZNICK. Youre going to love this — Ashley leaves but anshowsna tether of them, the rthles but charming — (Fe ducks Iitanl the vouch) Reet Buslee — (He jumps up again — ) has Boal a al WON HECITE. Rhett Butler? “SEUANICK, ‘Think — think — chink Clask Gable, thats all you Juve to think — Shes mad a him for eavesdeopping bur he laughs an hs Lae WEN NTEGITE, Har AELZNICK, Ha ha. (Seaver has mer ber match) Te ges even better “way; by Ashleys eejetion she marries Charles Hamilton — Melanics brother snd poor boob who just happens ro be the fist ‘evs afer getting the heave-ho from Ashley, who's fir too jecven though we suspect he has the hors non to de pe tase w Iu oat hn ins WEN HECHT: By Ashexohe : NEEZNICK. avley By Hamilton. Bar don't worry about him, 10 Hes just about co get himself killed — BEN HECHT, The wars broken out by now? SELZNICK. Car's you keep up? (He hands bine a huge sheaf of paper —) Heres Sidney Howard sen beats are in there — BEN HECHT. Most? SELZNICK, We lef a few things out. BEN HECHT. David — this is longer than 2 whores dream A bnock on the door.) SELZNICK. Yes? (Miss Peppenghul enters —) MISS POPPENGHUL "Mr Fleming, Mr, Setonick — (Vc Fleming blows in. Het burly physically imposing, filled with the same Lightly wound energy ofthe others. He hovers inthe dooruay annus 10 leave abeady —} VIC FLEMING. T hate to kiss and nun, David, whatever this is about bur [have to get back to The Wizend of Oz set, have a Ini ‘ed and sixteen munchiins dead deus in the coreidorso: form. cating in the urinals ofthe Calver Hlrel SELZNICK. Youre nor shooting Wizard of Oc any more VIC FLEMING. Te got two weeks 0 go. SELZNICK. You'e through with it VIC FLEMING. Tin being fired? For what? Because I slapped Judy Gacland around chat time BEN HECHT. You hie jady Garland? VIC FLEMING. Once, (Mite Pyppenghul gasps.) Once. 8 you off Oz, putting you onto Gone = most of the sory VIC FLEMING. Cukor shooting that BEN HECHT. He ficed Cukor SELZNICK. (Automatic) Thats a damn lie, t dont know where these rumors start — (Adjusting) Okay, yes, did — MISS POPPENGHUL, Shall we kee Mr. Fleming, Mx Selick? SHLZNICK” No, MISS POPPENGHUL. Mz. Hecht’ car? SHZNICK. No, MISS POPPENGHUL. Very good, Mr. Selanick. (She closes she tau with «sur lo at Fleming) SELZNICK, Cukor took five days to shoot the opening seve His p the studio ear waiting for scinps too slow. Hes pursing his own clibigie in. Magpavet Mabel onipunal namie foe Sexskor O'T at was Pansy. Hats how tus shat the movie, Pansified, T know that wonit happen with you Your mag be a son of a bitch bastard — VIC FLEMING. Thanks — SELZNICK. Bat youre a talented one — and Gable’ 2 pal of yours, anit he? VIC FLEMING. Are you kidding? | taught bim to be Gable. BEN HECHT. So whae happens on Oe? SELZNICK. (Ditmisive,) That’ nor your problem VIG FLEMING. Ws my movie SELZNICK. le was your movis VIC FLEMING. So doa have co go back xo the munehkins? SELZNICK, No. VIC FLEMING. T can five with thar, Wheo we screened the Ahlies yesteday the fre haatanls were singing, “Ding dong the Tiel deal” (Caaows,) Mayer's happy with this SEVZNICK, evagrees with me youite the ooly gay who could take hse VIC HIEMING, So pve play, make noes, work wth the actors — METZNICR, Sle ont have a couple of weeks and we dont have Vacsvnphay, (Ulett, wave at Fleming —) WEN TECHIE i SELANICK, hat why Ben Hecht’ here. Vil FLEMING. You dont have — 2 EN HECITE Te fired the screenplay’ ass, 00 VIC FLEMING, So whae are we working from? SETZNICK, You read the book? VIC FLEMING. (Cansous) fs avery big book — SELYNICK. But you know what's in there? VIC FLEMING. Dont most people! SHEZNICK. Not our screenwriter VIC: FLEMING. (To Heche) You didait —? NEN HECHT. No. SELZNICK, Ics noca problem. Hes going to give it a week VIO FLEMING. A weele SELANICK, Seven days TWN HIECITE: Five days. A working week. Fleming es a copy of the bef dt) VIC TTERING, ive days w0 con this inca sreenpley? SHU ZNICK. Ben can ds moe in five days than anybody in ally wot canuple uf wocka to reed the screen: VIC FLEMING. He’ going to turn a thousand and thitey-seven pages inco a hundred and thirty —? SELZNICK. Heb the best there is VIC FLEMING. When he hasnt read any of them? BEN HECHT. [read the first page. VIC FLEMING. And? BEN HECHT, Feh. VIC FLEMING. David — uhoh — big book — big movie SELZNICK. Ben wrote Scarface in leven days BEN HECHT. Hurricane in ovo days — VIC FLEMING. This isnt a piece of shit like those — BEN HECHT. Piece of shit? VIC FLEMING. You know what T mean — BEN HECHT. That chey didn't wach the giddy artistic heights of Test Pilot? VIC FLEMING. There was something wrong with Test Pilor? (Het shaping up physically 10 Hecht. Selonick hastily inservenes —) SELZNICK. Such kidders — The best rewrite euy in Hollywood — the only director withthe balls to take this on — Big book, yes, but, Berts gor Sidney Howard’ first pass, he’s going to work from that, VIC FLEMING. Okay, so lee me know when we have a screenplay — (He's heading towards the door Selenick stops hima leaving —) SETZNICK. ‘I need you hese. There might be some things he ‘wants to bounce ofF his director — BEN HECHT. 1 can think of one or two things already — SELZNICK. You're my guys. 'm your guy. Thats the only way re going to get through it. But the clock’ ticking, Irs casting me fity thousand dollars a day 10 idle the picture, (He thrusts a legal pad and peneil at Hecht.) KEN HECHT. Why decsnt Mayer re-write the movie? He called tne in once. He said, “This is all you need to know about screen ‘writing. The rose is here. Fe holds she pencil alofi —) It should be Thor.” (He moves ie several inches aca, shrugs.) Ym stl erying to fig tune what he meant. (The good aldier and honest erafsman, he butn- sor dwon, ready 10 sorte the sory beats on the legal pad —} So ‘amilton buys the farm and — ? SEIZNICK. ‘The war heats up, The South attacks — (He rushes in the ther side ofthe room ~- ) The North counterattacks — (He subs ta the apposite corner — ) The South is thrown back -~ (He sashes ta the firs. corner — ) They attack again — (He ruses to the appente canner) Once more the North enunterattacks u BEN HECHT. You're making me nauseous SELZNICK. Adana burns — (To Fleming.) which T shot aleeady so you dont have to bother with that VIC FLEMING. Before we get into this, David — I get ro finish this ob, yes It's not going to be — seven in the morning Oz, eight foclack Gone with she Wind, nine o'clock The Iee Fol SELZNICK. Twonk dignity thae wich an answer. (He thrusts he scrips to Fleming, who tries (follow along as Selanik marnases for Hebes benefit —-) Flames, falling buildings, people rushing here and there and in the middle of it — Oh — (Ee stcks his stomach hut and pus bis hand on it — ) Melanie's aboue to have Ashley's hhaby. Horse, cart Scatlete, Melanie, her baby, gunsho:s, looters, flan turns bavk to Hecht and Fleming, seeeping across the room, arms out tied, 1 Sear — } ra, Tire, fo 1 ar gt to Tara — VIC ELEMING.. (Srarenplay in ane) When she gets there — x, smoke — Scarlett males her way back to Tara — (Selznick Invthex das (Selsuiel bepfidly pulls bimselfimeo Ellen’ shape Prather oat of bis aiead sith grief Solanicl sherchec a near Gerald) Most al the slaves have rum away — no food ot tivestox lll, tione a the neighbors has a roof over their head — BEN TIECITT. Where ese would you puta roof? SELZNICK. Seutlett Binds a Union soldier lootin THeonimesa trugele with Fleming —) She's helpless woman, alone ‘ ven, aims a Fleming — ) She shoots him st lead (To Heming)) Whacever else itis, iS a melodrama, retnem- ther that — (Back 0 Hecht.) She buries the body. She leaves Melanie saul her baby at the house with a couple of loyal s VIC FLEMING. She goes back co Atlanta — EN HECHT, T thought she just leit Adanta? SELZNICK. fn Atlanta she comes across who else but — VIC FLEMING. Rhett Butes SELZNICK. Hes in jail — NEN HIECITE, For impersonating Clark Gable? SELZNICK. Searlete is desperace For money. (He sts on she couch vlaneiee Hering, cags Bis jacket open — } She offers to become Teheit's mittess if he gives it ro het. He laughs in het WEN HCI, Ma de SPLZNICK. Humiliaed, Searle marries — VIC TEMING. Bran Kennedy — WPNEIIECHTT. 1 HL oviss him? “ SELZNICK. He owns a store. She doesnt love him but she never wants to be hungry again. BEN HECHT. Who docs? (Heading towards the breakfst cart —) ‘Which reminds me — SELZNICK. Get away from the food. BEN HECHT, Just one bagel — VIC FLEMING. Isnt this where Scarlere secs there's money in sawmill? SELZNICK. Its Reconstruction. BEN HECHT. The war’ over? SELZNICK. The South will ise again — but they/l need lumber — BEN HECHT. Lumber, yes VIC FLEMING. Rhetts back on the scene — BEN HECHT. He got out of ail? SELZNICK. He’ still bewitched by Scarlet — BEN HECHT. Who's got all that lumber — SELZNICK. She has another baby — BEN HECHT. Number swo? SELZNICK. Ie a girl, her husband thinks ill make her settle down — BEN HECHT. But once a woman has discovered the lure of un ning a sawmill — SELZNICK, Scarlert’s attacked, Scarlett’ husband and Ashley join a Klan raid to avenge her VIC FLEMING. here saves the day BEN HECHT. Thar Klan? VIC FLEMING, Arent you following this? BEN HECHT. ‘The —? (Fe mus a pointed shape over his bead —} And the — ? (He maker eye slits with his fingers —} And espe- sially she — ? (He puts bis hand to bis throat, diaps bis head on one vie, as if es been Sysched.) SELZNICK. Yes. VIC FLEMING. Can we get on? NEN HECHT, Held ic. Plas. This i insane. You have a heroine ‘whose lack of morals would be remarked on in a two-dollar whore- Those. a hero who would shoot his own grandmother in the belly, 4 plot tac makes Finnegan’ Wake a model of lucidity. You have this ‘ier character, Ashworthy — SHI ZNICK and FLEMING. Ashley — HEN TIECITE. Who's some kind of Faggot — MPL/RICK. Adhley Wilkes is nor a fgg. BEN HECHT, Played by? SELZNICK. Leslie Howatd. BEN HECHT. An English actor? [rest my case VIC FLEMING. He's actually 2 Hungarian Jew BEN HECHT. He plays English SELZNICK. Asbley wants to do the sight thing — BEN HECHT. He wants gee in che ltd cramps pants — SELZNICK. Gone with the Wind contains one of the great love ti- angles of all ime — BEN HECHT. David, | don't know whether this is a very good. bad book or a very bad good boak oc more likely @ bad bad book but I do know you'll never yet a movie out of ic — (Sedonck pul, the door open, indicates the bras plate on it~} SELZNICK. David O. Setenick. Producer. (He slany it shut again, BEN HECHT. Youtre a great filmmaker, nobody’ going argue about that — (He indicates the contents of Selonic booksbelf — David Copperfield, The Prioner of Zenda, A Tale of To Cites — there isnt a chssic you havent pillaged — What happened? How dlid you get suckered smo buying this side of lox? (Selaniek pul soine ofthe trades from the J SELZNICK. The whoie world cates about this book — this movie = (He reads some ofthe headlines — } Tatt av Vinden — Via Co! Vento — Vor Winde Verweht — Kaze To Tomo Ni Sarinu — BEN HECHT. There’ going to be wat in Europe sometime soon SELZNICK. Europes a long way away and ids none of our business. BEN HECHT. No? Wich half the directors in Holiywood here because they've had to run from the Nazis? But of course youre the guy who wont give me one lousy dollar for Jewish relief — SELZNICK. Donic star that suff again, We have a job co do VIC FLEMING. (Nealing.) Avxl when are we going fo — you know — gee some —— (He rimes typing.) SELZNICK. [believe in this movic BEN HECHT. Enough to lose everything? (ie indicates the build ings and the offices ouside he windown. Ve big house across the street from the Chaplins, che ears, the yache? Your reputation as someone who's almost as smarc as Thallerg was? SELZNICK. Almost? BEN HECHT, You rally want to end up like your old man? SILZNICK, (lgores ft) You want to get to work? (He sees Fleming saa tk sehig from te ford cart) Pu that down — (Bt tela jt) "The digestive juices get mixed up with the creative 16 tones, Ids a scientific fact. We're going 10 be writing against the clock — BEN HECHT, I've done that before. SELZNICK, Not with these sakes. BEN HECHT. I dont need a steak, just a bagel — (He approaches the care bus Sclenich shields it from him — ) SELZNICK. No — BEN HECHT. One bagel SELZNICK. I'l slow you down. BEN HECHT, T'llgo easy on the schmeer SELZNICK. I cant allow i. BEN HECHT. Half bagel SELZNICK, 1 cant tsk it, (Selznick opens the door — re the food art) Get this out of here — MISS POPPENGHUL. Yes, Mr. Selznick — (Miss Pappenghul as Heche turns ro Fleming —} BEN HECHT, Tell him he’ crazy. VIC FLEMING. Ifyou can writ i, I can shoot i. BEN HECHI. he politics of Ata sime like this? VIC FLEMING. Youtte confusing me with somebody who gives a shit Selenick indicates one ofthe shelves — } SHIZNICK. Thar’ the attitude. Thete’s some production design anu eostume stuff there. You should try to geta jump on it, Youll lve on set, Monday. VIC FLEMING, With a script? SEILZNICK. Sure, with a script. Right, Ben? (Heche brandishes Siley Howard seript — ) BEN HECHT. (Depairing) She goes wo Atlanta, she leaves ‘Alanta, she goes back to Atlanta, she wanes whatshisoame, then she wants Rete Butler, he leaves, he comes back, whatshisname leaves, the vumes back, he wants her, he doeset want her, she eaves Arlanca, ue jes back to Adlanta, they're winning the war, they'e losing he wat, Rhece Butlers back, no — bes gone again, she's back in Alania, no, they're burning Adanta, she leaves Atlanta — How in onl’ name is any sane person supposed to make sense of i? VIC FLEMING, Yeah well — youre the — (He mockingly copier the soave Hecht gave bir earlier —) writer aceic you? (He takes the sduawiney finn the shelves ane sears to laf through ther.) “HUZNICK. (la Hecht) IF [could get a sereenplay owe of Annu Arran Van get one ou of this WEN TECITE: Have you even been eo de South? SELZNICK. I'm planning the premiere for Atlanta, I'l go thea, (He ovens the door indicates Miss Poppenghal should enter — ) Yeu know what a banana is? MISS POPPENGHUL. Yes, Me. Selznick, SELZNICK. The fruit? MISS POPPENGHUL. Yes, Me Selznick. SELZNICK. You know whae peanuts are? MISS POPPENGHUL, Yes, Me. Selznick. SELZNICK. 1 want banants, lots of bananas, peanuts, get me peanuts, (Perennially suspicious that bet surrounded by idion, se queries her again — } You know what Um talking about? Bananas? Peanuts? MISS POPPENGHUL. Yes, Mr, Selunick. Miss Leigh has asked if she can go back to England while the movie is down, SELZNICK. (Automatic,) The movie is not — (Contralling hire self) Remind Miss Leigh she's sill under conteact and must remain in Los Angeles until we resume production so Mr. Olivier should keep ic in his pants a lee longer. MISS POPPENGHUL. (Pier mento pas)... i his pants (Selznick makes sure Heche hears him —) SELZNICK. By the end of chs week Me. Heche will have a com- pleted screenplay for us. You know shat a typewriter is? MISS POPPENGHUL. A typewriter? SELZNICK. We need a typevrites, paper, carbons, pencil, crasers, pens, ink, nocepads — BEN HECHT. Cyanide capsule? SELZNICK. —and we need them right away — MISS POPPENGLIUL. Yes, Mr. Selznick, SELZNICK. Dont forget those bananas. They're brain food. MISS POPPENGHIUL. Yeu: Me Selick SELZNICK. told all ny cl MISS POPPENGHUL, Me. Mayers on line ane SELZNICK. | can’ tall to hin MISS POPPENGHUL. Mu. Canis 18, Mayer SELZNICK. Nocalls MISS POPPENGHIUL. Your fbr in-hoy, Me, Mayer SELZNICK, [ know who Lanis 1. Mayer is. MISS POPPENGHUL. ‘The father of your wife, SELZNICK. I gee tha. MISS POPPENGHUL. Your wite lene SELZNICK. 1 know my own wifes name. (Mis Poppenghud exit « 18 Scanick turns to Hebe with renewed energy indicates the office — Where do you want ro work? . NEN HECHT. Honolulu? Before we ge in too deep here — does the movie have co be set in the Civil War? SHLZNICK. ¥ WEN HECHT, X SPLZNICK, Yes WEN HECHT. Tir civil wat? SELZNICK. We only had one so far, REN HECHT. Somebody once told Thalberg — SELZNICK. (Automatic) Ies Thalberg ~ always Thalberg — NEN HECHT: — he couldnt have « beachffont scene set in Paris Fnccause Paris isnt on che ocean, Thalberg sid, "We cat cater 10 the handful of people who know Pati.” (Heming looks up from the doawings —) VIC FLEMING. Your point SEN HECHT, We play wich ta litle ~ maybe wer in the ight ‘voet but knocking on the wrong door — MVLZNICK, We're stuck with the American Civil War and we're swe with this story line and chese characters, We'e also going to swe only the dialogue thats in the boole (leat J Seneeon ee ‘wo use it in the same scenes and different characters might say the ‘wols, but they‘ going ro be the originals NEN HECHT: Area these people fighting eo keep slaves? SHIZNICK, (Exisiv.) Slavery i «pare of theit world, yes — NIN HECHT. And the audience is supposed co root far them? SELZNICK. They will ifwe do out jobs sight NEN HECHT, That doesait — ? you kno ‘uypof one person by another MELZNICK. “Te depends how its handled. (Selonick preves the ‘meron — } Out company motto — (Alss Popponghud enters seat what tht area ed may nes} oe SS POPPENGHUL. Seleniok Pictures Create Happy Hours WH ZNICK. Our credo? ee Ailes POPPENGHUL. 7o gain the npece ofthe American public ‘Hromls quality alone bas always bccn the single aim of Scenick itu, That ts why they are to be found at theasres of she highest rand. That is why you feel as if you bad been awociating wath a stanrmang ane intelligent rend, as you leave the theaine~ NENLLTECUT Noe as you've been part of a lynch mob in the Deeps Sond : "ve thoughe this through? livery? The own- LZNICK. Clqnaring him, to iss Poppenghul,) Where ate the bananas? MISS POPPENGHUL. Coming tight in, Mr Seance. (She eit) BEN HECHT. Didnt you tell me thae our heroine plugs Union soldier inthe belly? Dont you think éhat makes her — how shal put this — a tad unsyrapathetic? SELZNICK. Ie depends how we shoot it. Right, Viet VIC FLEMING. Suce— but I need a screenplay to work fiom and rite who hasnt read the material — xe to stad (Selanich gives a bits al he needs — (He pail nn boxer call me crazy but asc SELZNICK, Material laugh — } Uhave all dhe mat from the shelves, starts pulling fens aue at random — ) Fist dats second deaf, third drafts, polishes, notes of story meetings, scene breakdowns — You want to heat what Masgaget Mitchell has say? She suggested Groucho Marx should play Rheet Bucer. The inaeream buzzer unde — ) MISS POPPENGITUL. Salted, plain, roasted, shelled or tunkelle, Me. Solanice SULZNICK. What? MISS POPPENGHUL. ‘The peanuts? SELZNICK. Peanuts, jst peanuts. rooding, he stare at yt another shelf on which are ranged dozens of filed sereonplays, He tases ind tidual scripts onto the floor as be reads he writers names.) Whose draft do you want Jo Swerling — John Van Druten — Oliver HR Garnett — Charles MacArthur — BEN HECHT. Chadie had a piece of this, oo? (The sia keep fying off the shelf —) SECERICACWrnston Mile — jon Baden — Nhe Foster — Edwin Justas Mayer — Scott Fitgeald BEN HECHT. Thar Sears Fivgerald? SELZNICK. He gave me two lines L could use. (Mi Poppenghad centers, pushing a cart loaded with the typewriter, afice supplies, umanas and peanuts) MISS POPPENGHUL. I have everything, Mr Sclnick SELZNICK. The bananas? MISS POPPENGHUL. They'e here, Mr. Selanick. (Olsesive us ve, queries her again — } SHIANICK. Peanuts? MISS POPPENGHUL. On the way, Me. Selanick, And I chink yo cally should speak to Mr. Mayer — NELZNICK, (Defeated,) Okay, okay — (Selenick graces, braces 20 Inwell. then eckes the cal as Miss Poppenghul et out she writing able arranges the bananas.) LB. (He opens and cleses is mouth, unable ‘ust more than afew swords in es Heche and Fleming tall — ) WN HECHT, (76 Fleming.) Uheaed yout big pal Gable had to be suongearmed into this movie. VIG FLEMING, He’ scared stiff ofthe role. Everybody's got it in ‘hie head that eis Rhete Butlee. If he blows SELZNICK. (On she phone.) Fleming's here, yes — IHN HECHT, Wasnt there alittle — (He wiggles his hand — ) Ueiween him and Cukor? In a men’ restroom? When he first came ‘nut to Hallyvo VIGFLEMING. Ler nor get into chat, buddy. Okay? SELZNICK. (On she phone.) Uad Hecht come in at six — WEN HECHT. Think you'll get on with what'-her-name? VIC FLEMING. 1 imagine she'll do whatever she can to get me sumed and get Gorgeous George back so if at some point I'm ring to have ro tell Miss Fidle-Dee-Dee to sick the screenplay tip her royal British ass, Im ready to do it — WEN HECHT. T guess the man who slugged Judy Garland — VIC FLEMING. Tit her once — once — SELZNICK. (On she phone.) I put them stzight to work — VIC FLEMING. The question is, can you get the seripc done in 1 week? How many are you working on right now? KEN HECHT. The new Marx Brothers movie ... one for Warners no — wo for Warners — one for RKO — four — MELZNICK. (On she phone.) Theyie really geting into ie — (He apis forbade for Mt Pope poo bin les of te water from the tay, Vie FLEMING. You can kep fou screenplays in your EN HECHT, You can do Wizard of Oz one day, Gone with the Wind the next? (Fleming advances on Hech, stich his nose inao bis a) VIC FLEMING, Don't worry about my direction, and I wont warty about you getting weiter's cramp, sonny boy — MFLZNICK. (Phone, Hlecht and Fleming — (Selznick sees th two ne nase f noses if about to come ro blows — on the phone.) What “team —= (Thani fe pus the phone dv, takes the water dnints, Then be holds the glass ax arms length, stares at it as Biv Popper exes — } Tee cubes. WEN TIECHIT: Tee cubes? head at SLZNICK. They wouldtit have had ice cubes back then. In peti- fod. Whae ould they use? Crushed ie® VIC FLEMING, The hell with the ice cubes — we dorit have 2 Nreenplay — (de indicares she lo, seen through ohe window = ) Shae about one of those bastards in the Waiters Building? How sbout him? The guy in the argyle sweater and corduroy pants BEN HECHT, One of sose bastards inthe Writer’ Building? VIC FLEMING, Yeah, one of those failed poets and college pro Fesore and dollar-acine backs who earn more in a week than an ‘erage Joe it a year and do nothing but bitch about it — BEN HECHT, Bitch? VIC ELEMING, How much are you geting for Five days) work? BEN HECHT. Thats your business) SELZNICK, Beris worth every dollar VICITEMING. es your money, David, but why nor give some Inaly else «Trance o butcher the scripe Tate TILCEET. Fim here to butcher the book. I thine we an vee yonr ra felt the scrip (Mleosing nals she pena ey SAC IMING, This sound meen anything to yous palt (Seamirk pres he intercom —) AiISS POPPENGHUL, Yes, Me Selanicle SELZNICK. Get me Seauity — there's a writer on the Looe: MISS POPPENGHUL. Tuercom.) Right away, Mr Setonie SELZNICK. And a memo co Props, Crushed ice any time ve see setdak in somebody’s hand on eamera, not ice cubes. Crushed. No cubes. MISS POPPENGHUL, {Znterom) ... no cubes MIRE IECIIT. [just aced fo know what happens in the book — the little marter of character and SEIZNICK. We all very simple (Ye iercom sqaes — ) SECURITY CHHER, Security here, Mt, Selznick — SHLYNICK, ‘Phere’ a writer nit of lis bungalow. Tall uy: argyle soveaten smokin, 9 pie SHCURITY CHEE, Sweter pipe SELZNICR, Hind au who he is and what his storys — SECURITY CHIEE, The story he's working on? SELZNICK, Whaehe thinks bes doing smoiang a pipe on my dime SHCORITY CHIEE. Were om its Mr. Selznick TEN HECHT. Ifyou had a thiety-ight you could probably wing (Grlanick toms away from the intercom, back ti echt, Again he indicates where the imaginary characters ‘stable om he age —) eee SELZNICK. Scatlete thinks she’s in love with Ashley Wilkes but hes oing co matty Mane aloo hes relly lve with Scaler wad’ in love wich Rhett Butler though she doesn't know it so to spite Ashley she marries the fitse guy she sess and hs a bab) Wy hin bur he gow led which means seh fie ro chase ar Ps again but she cat ba by dhs ime be mare wo fclanic by which time Rhere Burler who everybody thinks doesnt we priba india since sae MENHEGHT, ing hon) Olay — Seen ses VIC FLEMING, (Explodes) The worst thing that happened «0 tsi was ices Now we ued "the words,” we fave st around wating for goa Chica newspapeman HEN HECHT. You were a chauffeur, yes? You gave somebody Wises move hotand ne canes ke dow you aed MIC ELENING. Youtan pul nso - You cant pull shis of, you might end ap writing Tne newspapes agun, Mie Rew Cy. (hr an ag inary steering wheel —) NEN HECHT. Taoe eae toot — VIC FLEMING. You might end up back in the Wis {Miner shivering from the cold.) Brer brrr brrr — (Selznick steps bresween shem, pleading — } SHLZNICK. I need this, guys. I need it. You have no idea how Inally T need it. My father-in-law just wating for me to fall on my ass. He told Irene, “Keep away from that schnook. Hell be a bum; to ke his old man.” (snake, depeste—) Give ase ait, fe Ii Ait. You know wat is ke when 2 milion people go see yar movie? When a million people say Yes? (Selon drags Healt tu the window, looks longingly ous — ) Exe becn on a lot Monday naning when he studio’ had a smash thac weekend? Even the +s the gate is standing a litle eller. Theres an ext ‘he sy the waite ia. the commissary opens your napkin, Ys, sn uklenly youte a genius. The fact that every previous elease for ve pase tree years has been a dog doesn't matter any more — you ‘lat all she people in Hollywood know exactly what thos: Joc Nour al Jane Docs want to plunk thei fifty eents on; other po {i Tow hits, sure, but that’s dumb Tuck — yor, you genius bastard a made it happen on sheer talent and youte going w keep on dcing it, week after weck, movie after movie fiom now on, everthing ou touch is going 1 rum to gold — Bur it's not just the monte 's knowing that you knows. You know what I mean —-you bran? EN HECHT. And they forget you'e 3 Jewboy in English tweeds? Nix the Jewboy — BEN HECHT, Who they wont let into thei counery lb — SELZNICK. Can you stay off that for five minutes? BEN HECHT. You want to belong so badly? Fine. I'l give ie ny best shot. Bus in five says? Working from this? (Sidney Hounerds sept) With him? (Hlaming give helpless shrug — } Okay — Pe \ ‘leks up she book.) Scatett thinks she's in love with Ashburton VIC FLEMING. Ashley — ‘ SELZNICK. No. (Selenick dlenps the book into the wastebasket) ~ (He suitce the lis bab on PIC PIEMING "Sowers ant ls cl ek) strong colors, figures against landscape, epic — . ig, yes ue PNG Epic as all shit — (Selsnick opens the door as Miss ‘uppenahal enters wish « huge bowl of peanaa e SELZNICK You tnow ace iag MISS POPPENGHUL, Ven Ne Sg SELZNICK. You kaow what meat SEtzn eT mein when 1 MISS POPPENGHUL, Ye, Me Selick SELENICK, 1 tll you nobody cote a here for de> know what imeagy NO he fr she ne fie BEN HET Daat MISS POPPENGHUL Ye, Me This door stays BEN HECHT But he's aboue to marry his own sister? (Pleshe istek (Sheiete ., SELZNICK, No — (He taker deep breath ——) What's a movie? MISS POPPENGHUL. Yes, Mr Steer Specks of light stuck to a strip of celluloid, Did you ever think of MROANICK, Su when t say no calls for dhe next five days 7 like thar? A goddamn authentic svitacle. A series of moments frozen VIC FLEMING, David cence in time by the only time machine ever invented. So what do we wane ous specks of light co be? This time? When were sitting in a ‘movie palace and the lights go down — (He dims the lights J And the thester disappeats and the magic starts to happen’ (He srt 19 open the drapes — } Say we hear an overture — 1 dont know something like —~ da da da da dab dah dah da da — and the con ‘sins open — di da da dh — (He opens the curtains filly —) And ‘on te screet we see sky in. lames, a sky that looks a8 iF ts the erd job dhe world (de hls his buna up, ws if be cane alms towel the fomage I Shapes sillanuettes, lacks bent in tail lt ca da dd dla da ds wv BEN LIECHT: Wl vathroom, there's mM ok, Te A898, ove sceenplay. (Te Hache The te (cen tthe opewrieny MH) The bladed hy — EN HECHT. Sure, the blood Hacc Inetking labo, exaess struggle — Writer Building? SHIZNICK. "Then Feming nd mene oak SELZNICK. Us Tars (Planing dimeting joins tbe oper —) VIC FLEMING. ‘Act out the books out bo2k for you VIGPLEMING, Tun the csmers dn hee yon shoring op SUIZNICK. You havea bene sae? the angle sys all "Tin lle dhe aneen = aoe jae & Rea NICFLEMING, The whole book? (Se be {re to create an acting area SHANICK, “We do a scene from the bo "iC up as a movie scene; we do the we nced this scene, we ean rell 1 tha ene the entve wel ole Souths whaleage oe bb SELZMICK. “Hin you vin al ce ed pe soning car, en — ih as rd thes, nl the Mad sha es ene Ss of a prople who know thir way ol e's doomed bet whale BEN HECHT: Ieushe Wie bulling (edo Hat ‘inde, Slick ending tonne doe —} lenick rearanges the furni- Ok, he watches it, he othe nent scene, he sys, “Why the story without in” Tone tt lek athe next scene and by WEN TIECHTT theend of the weck (rug) Ths evo’ pong 10 want wo watch but hey SELANICK. Bade up — (Uniling o argue any more, Heche ers to mpe~) BEN HECHT. One — SELZNICK. Exeerion — BEN HECHT. Day — SELZNICK. Tang — vhat pf it is — BEN HECHT. (Impatient) Soles po — (Selonick puts bx bane abt ips, satay across the room, a la Scares OHane SELZNICK, War, war, war — thats all anybody can talk bent — (tle raohes Fleming.) War, wa, wear-— VIC FLEMING. ‘Whae? SELZNICK. Whae VIC FLEMING, fm not an actor — SELZNICK, You think Laon? (Heche is oping —) BEN UECITT. Ti running low on dialogue here FERANICK Wier war war — (He drapes himself eogueicly ox fleming — ) Why Ashley Wilke, I didn ee yon then tHe ook, fi Fleming co answer-— impatient) You da temenber he Keats NIC FLEMING. Sure "ah =~ (fe makesan sfise meee Hey — Scarlett ~ how’ ie going? BEN HECHT. Hoy Scarlets, how’ i going? SELZNICK. You're Ashley Wilkes, aye BEN HECHT. You have to give me something to work with, VIC FLEMING. Ashley, okay, Ashley —— SELZNICK, Unless you'd rather play Scarier VIC FLEMING. No, Ashley's pool BEN HECHT. Five days and you lose me, remember ‘makes am attemps to portray Achy) MIC FLEMING. 1... 7... Pee somthing say to you Searles Sinetbing ta tell you about my eousin Melanie and me (Selongk ay hime in Fleming arms, leaking pat him with fering ‘eles as leche keeps haramering the koje) AVLLNICK. Melanie? Poor litle flae-chested, shinny lle Melanie? {Ue aves high pitched, coguentch laugh — } Why fiddle dee dae ile lights fade withthe sound ofa thousand Satie pperrier kag retin lode and louder lke am army of pine at work again the task) Planing VIC FEMI SELZ SPLZNIC Ils ae Heche SPLANICK, BEN ere SELENICK, ft th blackout we bear that frantic clanerin (38. As she lights rice we tee ihe of in flor les Hs the middle of the nig the lamp light we ee office since we last saw it. Sco a SELZNICK, Pa ING, 1 NICK. Push harder = ‘LEMING, Ub — SELZNICK. Harder — VIC FLEMING, Uh — wh — SELZNICK. You have VIC FLEMING Ub uh uh — (elenich ges obi fer — ) fe Sood — where is that grt Pris Pg i bu. ) Ben ~— (Hecht jerks aviake HEN HECHT. Wi WLANICK, Seae! MEN HECK TE Ad Scene 2 ‘he devastation thas the ape an ‘ree ec deen pon Bose oa rola ren Fh ‘bonne i 1 ih sited an fn Be 8 a ie Ba Pein be ms ee Som ohn ee ve lod, chevelle, ssl the room to where Sh —~ push, in pushing — fo throw yourself into ie — Heche has allen forward om the de Hews io Atianca, remember? Fanta? Melani’ having Adhley’s baby — Melanie? Mere ony Scariest help her of ipewriter r00m lit bythe sof glow of able neo days later By been wrought in the of Papers are scattered on he les of peat rll ve hen overturned and te has taken place ere Hate of the thee Sbirtleves, their hair ins are dark with rubble. Heche wi sohing in every iant. Reganlss Pion ith a strug giving birth, Selenich y — (He snoring gently lle BEN HECHT: Scarlet (Heb ges to pe, then winees —) Ow SIIZNICK, Not again — (He goes to Hecht’ desk, massages bis ‘nes as Fleming rolls over goes ta step. With a painfil grant Hecht smarges to sraighten is knees.) BEN HECHT. [ think I lose the use of my legs — (He leans on Selznick as he gets to his et, still anche forward. Selanick grabs bia doy the shoders and jerks hima uprigh.) SELZNICK. Have a banana. (Hecht gives a shor, shrill screech.) ean? (Heche gives the same sree.) Take it easy. BEN HECHT. Goddamn you to hell, David Selanick. I haven't had a bowel movement in two days — Fm deaf in my right ear from this goddamn typewriter — (He tugs at his pants. Theres a good three-inch gap between bis belt and bis belly — ) T rnust have fost five pounds. (He indicates bis left hand. [es sil neitching, ping ‘on inisible hes.) Look at that. SEIZNICK. It's nothing serious — (Hecht walks a couple of suf: fling secs, fol something crunching underfoot.) REN HECHT. What's thar? SELZNICK, You threw the peanuts at me, zemember? BEN HECHT. (Hopefully) Did I nuct you badly? ELZNICK. Fleming held you down until you were over it BEN HECHT. Fleming? (He lots vaguely towards che snoring form of Fleming —) What's be doing here? SELZNICK. Stop kidding around. (He prods Fleming awake.) VIC FLEMING. Tin pushing, fm pushing — SELZNICK. We'e doing pretty good — (He lif up a pile of om- pled sript pages hy the peuriter — ) We're making progress but we've sil ra ways 0 20 =~ Hecht groans, winces ==) BEN HECHT. My back SELZNICK, We have vo keep going, BEN BECITE, My bea SELZNICK. You know where we ave, sight? Ie the story? BEN HECHT. Let me take wall, pot some lish air — (He sake a halfhearted trot tvvards the dear but Selanick beads him off — 3} SELZNICK. No. (Hecht brads towards the couch —) BEN HECHT, Let me sleep forte minutes — SELZNICK. We don't have time. (He directs bim back to the type- toviter) We have « baby on the way hew. (Hecht looks around, dazed, as if tying to see it —) BEN HECHT. A baby? SELZNICK. Melanie's having Ashley's baby with only Scale 0 28 help. Scarlet’ mid Prissy tol he she knew about birthing babies but she didnt Know muthing. (He leans over Fleming as Scarlett «tgain — } Push — push — (He gets bis feet —) VIC FLEMING. Tin pushing. SELZNICK. Prissy’ taking too long — Melanie’ in a real bad way VIC FLEMING. U7) — uh — SELZNICK, Prissy comes back, dawdling — (He indicates Fleming should ger ro his fer —) VIC FLEMING. I'm having a ba SELZNICK. Not withouc Prissy. (Fleming gets to his feet to play Prizy — ) Prissy rans up the stairs — (Heming mimes running up the stain. — ) She's alone, she has’: brought ary help, she's bad, bad scupid gic VIC FLEMING, 1 a stupid stupid gir. SELZNICK. Scarlet loses it and — (Ho face.) Now Scatlet’s lee wich a won ips Reming eros the wt what giving birth toa child by she one man Scarlet ever loved BEN HECHT. (Dishliovng.) Whoa — whoa — back up — SELZNICK. You wonder why this book sold a million ad a balf copies in twelve months? There it right there. You wont to ell charactet, dilemina, dramatic irony? Zola coulda’ have don ie any beter, BEN HECHT. Hold ie — (He spaces his forehead ying to doug) Shegecetie atts bee NICK, Socks her one cight here =~ BEN HECHT. ‘The colored maid? SELZNICK. Paisy. Plming mines Prisy VIG TLEMING. Th. sepia BEN HECHT. How old this pre? SELZNICK. Ten, weve? BEN HECHT, You cant pur this SELZNICK. The gil hed ta her. She said she could bieth abies. VIC FLEMING. [dif vol Mis Scart I could birch babies SELZNICK. Then she dadles on the way back — VIC FLEMING. I ld I dadled somehing anfid — (He sip, snisning Pris dud) SHIZNICK. Meantime Melanie's dying here. (Reming his the Toor us Melanie) VIG FLEMING. Okay — posh — push — EN LIECITT.”Youte paying me to tell you what scenes to cut » Ct this one SELZNICK. No. BEN LIECHT, Have you any idea what it says abour your heroine? SLLZNICK. She's under a lor of pressure here — BEN HECHT. So its okay co beat up the blad doug bimslf to his fet again — ) VIC FLEMING. 7 know 13 been a bad girl — (He ships, miming the dawdling again.) SELZNICK. (To Hechr,) Gould you please dialogue-in the scene? BEN HECHT. No, SELZNICK. Weite it. BEN HECHT. I wont do it, SELZNICK. Who's the producer? BEN HECHT. Who's the weiter? VIC FLEMING. So wri. BEN HECHT. What happened, David? You? Making a movie that oesit just glorify the Confederacy but — she slaps the hele gir? SELZNICK, The audience is waiting fr it BEN HECHT, Look ac how Fleming’ playing Prisy SELZNICK. He's not an actor. BEN HECHT, Dont you have a responsibility to make America look its ugly mug in the face? SELZNICK. My only responsibilty is to make the best movie] can, BEN HECHT. This isnt che David Selick I know, the David Selenick Tadmire, 1 love — In this gold-lined sewer T ahways thought shere was one executive who saw things the way I do— SELZNICK. | cane deal with she race question now. BEN HECHT. Wyou eait deal with it is. Come with the Wind, when will you? VIC FLEMING. Oh God more Chicas nemspapen (leruing bas wascdily 0 she wvrwon.)V' he i BEN HECIIT, If theres one person who could mean something, its you. SELZNICK. Its a melodrama, Possibly the greatest one ever write en but a melodrama — BEN HECHT. If there’ anybody who can understand the leg of prejudice its us Jews, SELZNICK. (Bewildered) Vow did te Jews get iowo thst BEN HECHT, The audience i waiting for she slap? What are you thinking SELZNICK, That I donit have you for much longer and Melanie's kid? (Fleming fan BS john ike this movie y 30 having a baby and Searle ses Prissy and blam. Where's Fling? Write it BEN HECHT, Not in a milion years. SELZNICK. The spent a lor of time, effort and money making sure everybody in this story is treaced with respect — BEN HECHT, As much as you've spent on Vivien Leigh's breast- work? On the ice cubes? SELZNICK, The Negro characters in my movie will have as much clgnity as all the other characters — BEN HECHT. However you slice it this is an elegy for the Old South. Tell me you see the problem, Harry Cohn would see it. Jack Warner wouldn' see i. Thalberg might have — SELZNICK. Enough with the Thalberg — wrice it — BEN HECHT. 1 ean writ ic SELZNICK. { have to be loyal to the book, BEN HECHT. How about being loyal to your conscience? SELZNICK. There’ only so much [ can do BEN HECHT. hats kind of disappointing, don't you think? SELZNICK, White it. (Hecht goes tothe typewriter again, energized, defiant —) BEN HECHT. Okay, okay — how about this? We keep the slap bbut we give Prissy a specch — Yes, she says, defiantly, holding her hand to her bleeding mouth, I did dewdle, I did sake my time, T Aenow Miss Melis hurting up there, burting real bad — (Fleming ice sounds from behind the elozed bathroom door — } VIC FLEMING. Push — push —~ BEN HECHT. —and ifshe dies what do l care, because what do ary of you care, any of you white folk, you in particular Miss Scarlett OFiara, abort us, the people who've made the wealth, who roiled and hed for yor year afer year, generation afier generation — You see where Lin going? (He sind as he exper, fired up —) T hope she dies ‘and I bope you die, because something ee is being born right now, too

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