Beverly Hills Dead (25 page)

"I didn't know Thalberg, but from what I've heard he and Leo have a lot of stylistic differences."

Eddie grinned. "I think you could say that."

"I heard from Vance. He'll be back tomorrow night, and we're having lunch on Wednesday. You want to join us?"

"Nah. You two have a lot to talk about. Did he read the script?"

"Yes, and he liked it."

"I was worried he wouldn't want to do it without Susie."

"He didn't mention Susie, but he asked who I had in mind. I think when he sees Hattie Carson's test, he'll like her."

"Good. We go into wide release on both
Bitter Creek
and
Times Square Dance
today. I can't wait to see our first week's grosses."

"Well, we've certainly milked every ounce of nationwide publicity; what with that and the reviews, we ought to do well."

"I'm counting on it," Leo said. "I want the profits from that picture to finance our move into television, and I hope the other picture will help, too."

"You really think it's not too early for that, Eddie?"

"Listen, kiddo, I'm told that industry-wide ticket sales were off twenty percent last year, and you can blame TV. The number of sets has doubled in the last year, and it's going to do even better next year. We did okay last year, with our ticket sales up about six percent, but we've got to catch the wave at the right moment, and that's now, while the other studios are still in denial and are dragging their feet."

"I had an idea for a show," Rick said.

"Tell me."

"I think we should get space in New York for a production facility and do live dramas of two hours. We can buy Broadway plays, maybe even do some classics. And I think we should commission original stuff, too. It might be a good testing ground for later feature pictures."

"I think that's a terrific idea, kiddo. I'm going to be in New York in a couple of weeks, and I'll feel out the networks. Have you given any thought about who should run it?"

"Yes, I have. I was thinking, maybe, Sid Brooks."

Eddie's eyebrows went up. "Have you talked with him about this?"

"No."

"Good, because the blacklist is in force in TV, too."

"Hy Greenbaum has managed to get some of his blacklisted clients rehabilitated."

"Yeah, I've heard about it. Are you thinking that after what Sid went through he would change his mind and do that?"

"Hy has told me he's trying to talk him into it. Maybe with something like this for an incentive, he'd do it. Also, maybe he doesn't want to go to prison."

"Does he know anything about TV?"

"No, but who does? They're making this up as they go along. Sid knows drama, and he's directed a couple of times on Broadway, and I've heard he's very good with actors. Certainly, his name on the show as, say, executive producer would attract a lot of good New York talent, actors and playwrights, too."

"Maybe you should have a discreet lunch with Sid sometime soon."

"Maybe I should," Rick said.

46

Rick stood up and walked around his desk to greet Vance Calder. "It's good to have you back, Vance," he said. "You look wonderful: tanned and rested."

Vance smiled, his new dental work set off against his tan. "I think that about sums it up."

"Before we sit down, I've got Hattie Carson's test put up in my screening room. Want to take a look?"

"Of course."

Rick led him into the little room; they sat down and Rick picked up the phone next to his chair. "All right," he said.

The test, consisting of three scenes, began to run. Once in a while Rick glanced at Vance, but he got no reading. Then it was done, and the lights came up.

"What do you think?" Rick asked.

"I think she's awfully good; I'd love to have her on the picture."

"Great," Rick said, relieved. Vance was now in a position to insist on a big star opposite him, and the studio would save a lot of money by using a contract player. "Let's have lunch."

They went back into Rick's office, where the studio commissary had set up a table, and sat down. A waiter began serving them. When he had gone, Rick asked, "Did you speak with Hy about your new contract?"

"Oh, yes," Vance replied, "I almost forgot. I signed it this morning, and Hy is messengering over all the copies. I'm very pleased."

"I'm glad, Vance."

"I was particularly pleased that you and Eddie forgave the loan on the house. That's a big load off my mind."

"Do you think you'll be happy there?"

"I think so, but my ultimate ambition is to build somewhere. When I worked in construction I liked seeing other people's houses go up, and I thought I'd like to invent my own place."

"That's a great idea. You'll enjoy it," Rick said. "Our place at the beach will be ready to move into soon, and we're looking forward to it." Rick took a more serious tone. "Vance, I'm sure that Hy has told you that this is an extraordinarily rich deal for an actor who's made one picture."

"I understand that."

"The reason we did it is that we not only like your work, but we admire the seriousness with which you approach it. We think you have a long and successful career ahead of you, and we want it to take place at Centurion."

"I'd be very pleased if I never made a picture anywhere else," Vance said. "All you have to do is keep Hyman Greenbaum happy."

"We'll try. What we want to do for the next couple of years is create properties for you that are not only quality pictures but also ones that show your versatility."

Vance grinned. "How do you know I'm versatile? I've just made the one."

"I know," Rick said. "Your test showed me your versatility, and I liked it that a lot of the press who interviewed you during our recent publicity blast were surprised to learn that you are English. I mean, other actors with accents, like Errol Flynn, have made westerns, but they never sounded American. The press and the critics loved that."

"I'm glad. Tell me, Rick, why don't you want to direct
Greenwich Village Girl
?"

"Two reasons: first I don't think I have the background and experience to direct a fast-paced comedy; second, I've promoted Leo Goldman to production manager for the whole studio, working under me, and I want to be around to help him find his feet. It won't take Leo long, believe me, and by the time you're done with this picture, I should be ready to direct the next one."

"Any idea what you want that to be?"

"Glenna read a novel that she liked, and I agree with her. It's a serious drama, very suspenseful, and I think it might be the perfect follow-up to the comedy. It's called
Deep Night
, by a first-time novelist. Hy Greenbaum is touting a new writer of his up in Maine to adapt it."

Vance managed a small smile. "Maine, huh?"

Rick smiled, too. "We all know it's Sid Brooks, but under the present circumstances, we mustn't know. Hy has hopes of persuading Sid to purge himself in a second appearance before the committee and get off the blacklist."

"I hope he'll do that," Vance said.

"So do I. I'm having dinner with him tonight to talk to him about it."

They met at Bennie's and sat in a rear booth, out of sight of the bar. They shook hands warmly and ordered drinks.

"I'm glad to see you looking well, Sid," Rick said.

"Thanks, Rick. I'm getting by, but at a time in my life when I thought I wouldn't be just getting by."

"I hope that will improve," Rick said.

They ordered the steaks.

"So," Sid said, "why are we having this dinner?"

"Oh, I just wanted to be sure you're eating, Sid."

Sid laughed. "Come on, Rick; we both know what this is about: you're in league with Hy."

"Why do you suppose that is, Sid? I mean, Centurion can go on buying your scripts from Hy, all written under assumed names, and for half what we'd usually pay you. You think we have ulterior motives? Just the opposite, I can tell you. Eddie and I want you back working under your own name, winning Oscars and prospering."

"Leo Goldman doesn't," Sid said.

"Have you had some kind of contact with Leo?"

"No, the only kind of contact people like me have with Leo is when we feel the back of his hand. I hear you've given him a big new job."

"I gave Leo the job because he'll be good at it, not because I agree with his political views. I don't want to go on supervising every production; I want to produce and direct my own projects. I've learned that I'm happiest doing that, and I want some of them to be your projects."

"Thank you, Rick. I know you're nothing like Leo."

"Listen, Leo is the kind of guy who, once you've put all this behind you, will be delighted to work with you again."

"Yeah, he just goes with the flow."

"Let me give you something new to think about, Sid."

"What's that?"

"We're going to make a big push in television, starting this year."

"I think that's smart, Rick. The Supreme Court decision that made the studios sell their theaters is going to wreck the business as we know it."

"Well, since we didn't own any theaters, it can only help us. But let me tell you what I'm thinking about."

"All right."

"I want us to produce a series of live two-hour dramas in New York, with top actors and writers. Eddie is going to be talking to the networks about it soon, when he's in New York."

"I think that's a great idea, Rick, to have some quality entertainment, instead of the schlock that's on TV now."

"This is all speculative at the moment, but if it happens, I think it will happen fast. What I'd like is for you to run the thing as executive producer and to write some things for it as well as direct from time to time."

"But, Rick, the blacklist is, if anything, worse in TV than in pictures. I would..." Sid stopped talking. "Oh, I get it."

"Do you?"

"If I purge myself before the committee and get off the blacklist, then I can do it openly, using my own name."

"You get it."

"Yeah. I not only have a stick behind me--the possibility of going to prison--now you and Hy have given me a carrot out front."

"I haven't even talked to Hy about this, but yes, and it's a pretty good carrot, don't you think? It's a way to produce a lot of good work in a comparatively short time..."

"And to rehabilitate myself in the eyes of the studios."

"Right. I think it might even be a good idea if you could find an anti-Communist property you could write and direct, one that you could live with, morally."

Sid poked at his steak. "Well, if nothing else, Rick, you've shown me what I'm missing by sticking with the party crowd."

"What I want for you, Sid, is what you once had, plus a great deal more. You have a fine talent, one that shouldn't be squelched, and you have the capacity to do even better work."

"I'm going to have to think about this, because I won't be able to get it out of my mind. It's a big step, and a complete break with my past."

"It's going to cost you some friends, Sid, but eventually make you some new ones. Why don't you do this: talk with Hy, and let him meet with these people and see what kind of a deal he can come up with. Once you know exactly what's expected of you, then you can make an informed decision about what to do."

Sid sighed. "All right, Rick. I guess I can do that without committing to anything."

"Good. By the way, I'm sending Hy a novel I'd like that client of his in Maine to adapt. It's called
Dark Night
."

"I'm sure he could do that; dark night is where he is right now."

"There's a sunrise around the corner, Sid."

"We'll see."

47

Tom Terry pulled into a parking space in front of Jimmy's, a cop bar on Melrose, hopped out of the car and walked into the joint, looking for Lieutenant Ben Morrison.

"I'm right behind you," Ben said, poking him between the shoulder blades with a finger.

"Don't shoot until I've had a drink," Tom said. They found a booth and ordered.

"How's the picture business?" Ben asked.

"I think it must be okay, but somehow I don't think of myself as being in the picture business. I'm something else; I'm not sure what."

"Private eye? Philip Marlowe?"

"Hired gun, jack-of-all-trades...I don't know. Every day is different."

"That can't be bad; it's what I've always thought was the best thing about being a cop."

"Don't get me wrong; I'm not complaining. I really like the work. I just never know what it's going to be. At least, they haven't asked me to kill anybody."

"Well, you may have to kill Hank Harmon, if you want justice for your girl."