Фрэнсис Фицджеральд - The Pat Hobby Stories

"Yes—I read a book about it."

Pat wanted to laugh. In 1928 he and another man had concocted such a sucker–trap, Secrets of Film Writing. It would have made money if pictures hadn't started to talk.

"It all seems simple enough," said Wilcox. Suddenly he took his hat from the rack. "I'll be running along now."

"Don't you want to talk about the script?" demanded Pat. "What have you done so far?"

"I've not done anything," said Wilcox deliberately. "That idiot, Berners, gave me some trash and told me to go on from there. But it's too dismal." His blue eyes narrowed. "I say, what's a boom shot?"

"A boom shot? Why, that's when the camera's on a crane."

Pat leaned over the desk and picked up a blue–jacketed "Treatment." On the cover he read:

BALLET SHOES

A Treatment by Consuela Martin An Original from an idea by Consuela Martin

Pat glanced at the beginning and then at the end.

"I'd like it better if we could get the war in somewhere," he said frowning. "Have the dancer go as a Red Cross nurse and then she could get regenerated. See what I mean?"

There was no answer. Pat turned and saw the door softly closing.

What is this? he exclaimed. What kind of collaborating can a man do if he walks out? Wilcox had not even given the legitimate excuse—the races at Santa Anita!

The door opened again, a pretty girl's face, rather frightened, showed itself momentarily, said "Oh," and disappeared. Then it returned.

"Why it's Mr. Hobby!" she exclaimed. "I was looking for Mr. Wilcox."

He fumbled for her name but she supplied it.

"Katherine Hodge. I was your secretary when I worked here three years ago."

Pat knew she had once worked with him, but for the moment could not remember whether there had been a deeper relation. It did not seem to him that it had been love—but looking at her now, that appeared rather too bad.

"Sit down," said Pat. "You assigned to Wilcox?"

"I thought so—but he hasn't given me any work yet."

"I think he's nuts," Pat said gloomily. "He asked me what a boom shot was. Maybe he's sick—that's why he's out here. He'll probably start throwing up all over the office."

"He's well now," Katherine ventured.

"He doesn't look like it to me. Come on in my office. You can work for ME this afternoon."

Pat lay on his couch while Miss Katherine Hodge read the script of Ballet Shoes aloud to him. About midway in the second sequence he fell asleep with his new hat on his chest.

Except for the hat, that was the identical position in which he found René next day at eleven. And it was that way for three straight days—one was asleep or else the other—and sometimes both. On the fourth day they had several conferences in which Pat again put forward his idea about the war as a regenerating force for ballet dancers.

"Couldn't we NOT talk about the war?" suggested René. "I have two brothers in the Guards."

"You're lucky to be here in Hollywood."

"That's as it may be."

"Well, what's your idea of the start of the picture?"

"I do not like the present beginning. It gives me an almost physical nausea."

"So then, we got to have something in its place. That's why I want to plant the war—"

"I'm late to luncheon," said René Wilcox. "Good–bye, Mike."

Pat grumbled to Katherine Hodge:

"He can call me anything he likes, but somebody's got to write this picture. I'd go to Jack Berners and tell him—but I think we'd both be out on our ears."

For two days more he camped in René's office, trying to rouse him to action, but with no avail. Desperate on the following day—when the playwright did not even come to the studio—Pat took a benzedrine tablet and attacked the story alone. Pacing his office with the treatment in his hand he dictated to Katherine— interspersing the dictation with a short, biased history of his life in Hollywood. At the day's end he had two pages of script.

The ensuing week was the toughest in his life—not even a moment to make a pass at Katherine Hodge. Gradually with many creaks, his battered hulk got in motion. Benzedrine and great drafts of coffee woke him in the morning, whiskey anesthetized him at night. Into his feet crept an old neuritis and as his nerves began to crackle he developed a hatred against René Wilcox, which served him as a sort of ersatz fuel. He was going to finish the script by himself and hand it to Berners with the statement that Wilcox had not contributed a single line.

But it was too much—Pat was too far gone. He blew up when he was half through and went on a twenty–four–hour bat—and next morning arrived back at the studio to find a message that Mr. Berners wanted to see the script at four. Pat was in a sick and confused state when his door opened and René Wilcox came in with a typescript in one hand, and a copy of Berners' note in the other.

"It's all right," said Wilcox. "I've finished it."

"WHAT? Have you been WORKING?"

"I always work at night."

"What've you done? A treatment?"

"No, a shooting script. At first I was held back by personal worries, but once I got started it was very simple. You just get behind the camera and dream."

Pat stood up aghast.

"But we were supposed to collaborate. Jack'll be wild."

"I've always worked alone," said Wilcox gently. "I'll explain to Berners this afternoon."

Pat sat in a daze. If Wilcox's script was good—but how could a first script be good? Wilcox should have fed it to him as he wrote; then they might have HAD something.

Fear started his mind working—he was struck by his first original idea since he had been on the job. He phoned to the script department for Katherine Hodge and when she came over told her what he wanted. Katherine hesitated.

"I just want to READ it," Pat said hastily. "If Wilcox is there you can't take it, of course. But he just might be out."

He waited nervously. In five minutes she was back with the script.

"It isn't mimeographed or even bound," she said.

He was at the typewriter, trembling as he picked out a letter with two fingers.

"Can I help?" she asked.

"Find me a plain envelope and a used stamp and some paste."

Pat sealed the letter himself and then gave directions:

"Listen outside Wilcox's office. If he's in, push it under his door. If he's out get a call boy to deliver it to him, wherever he is. Say it's from the mail room. Then you better go off the lot for the afternoon. So he won't catch on, see?"

As she went out Pat wished he had kept a copy of the note. He was proud of it—there was a ring of factual sincerity in it too often missing from his work.

"Dear Mr. Wilcox:

I am sorry to tell you your two brothers were killed in action today by a long range Tommy–gun. You are wanted at home in England right away.

John Smythe The British Consulate, New York"

But Pat realized that this was no time for self–applause. He opened Wilcox's script.

To his vast surprise it was technically proficient—the dissolves, fades, cuts, pans and trucking shots were correctly detailed. This simplified everything. Turning back to the first page he wrote at the top:

BALLET SHOES

First Revise

From Pat Hobby and René Wilcox—presently changing this to read: From René Wilcox and Pat Hobby.

Then, working frantically, he made several dozen small changes. He substituted the word "Scram!" for "Get out of my sight!", he put "Behind the eight–ball" instead of "in trouble," and replaced "you'll be sorry" with the apt coinage "Or else!" Then he phoned the script department.

"This is Pat Hobby. I've been working on a script with René Wilcox, and Mr. Berners would like to have it mimeographed by half– past three."

This would give him an hour's start on his unconscious collaborator.