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The Americano

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The Americano

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Content

THE AMERICANO

by
Antonio Gonzalez

__________________________________________________________________

A Thesis Presented to the
FACULTY OF THE GRADUATE SCHOOL
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
MASTER OF ARTS
(CRITICAL STUDIES)

August 2007

Copyright 2007 Antonio Gonzalez

ii

Table of Contents

Abstract iii

Script 1

Bibliography 104

iii

Abstract

This screenplay is based on Douglas Fairbanks (Desmond Sills) and Mary Pickford

(Sarah McKay). It covers 20 years from their intial meeting till the death of the

Fairbanks (Sills) character.

1
FADE IN:
INT. THE ALEXANDRIA HOTEL LOBBY – NOON – 1920. DAY.
The Alexandria’s lobby is one of the most beautiful in all of Los Angeles.
Huge Italian marble columns encircle it. A plush Persian carpet covers the floor.
Glistening chandeliers hang from a vaulted ceiling.
Large potted palms, in huge vases, sit next to each marble column, two to a column.
Fine imported furnishings, gilded with gold and covered in silk, are strategically
placed about. The sun streams into the lobby through a skylight overhead.
In the center of the room – sitting primly on a large sofa, is Sarah McKay. Sarah has
an alabaster complexion and golden shoulder length hair. Her eyes are watery blue
and she wears a simple white dress with just a trace of beadwork around the collar.
From the long hallway, which runs from the street to the lobby, comes the sound of
clomping horse hoofs.
Sarah turns and sees Desmond. Unlike most affluent members of café society,
Desmond has a sun darkened complexion. Yet, his complexion is vibrant. It brims
with energy. His hair is jet black and his mustache is pencil thin. His white suit
glistens and the white horse he rides into the lobby glistens too.
The concierge (Romaldo) quickly runs up to Desmond and the horse.
Desmond raises his arms up with a great deal of dramatic flair.
DESMOND
I’VE ARRIVED.
ROMALDO
(LOOKING UP)
We’ve noticed.
Desmond dismounts.
DESMOND
Could you get Lucky something to eat?
ROMALDO
Something to eat?
DESMOND
Yes, and make it something natural.

2
ROMALDO (He looks around)
Maybe, your horse would like one of our palms?
DESMOND
No. I was thinking of wheat.
ROMALDO
Wheat?
DESMOND
Yes, wheat. Have Ernesto whip him up
some wheat.

Ronaldo stares at Desmond. He’s unsure about the seriousness of Desmond’s
request. When he realizes that Desmond is quite serious, he speaks.
ROMALDO
Yes, Mr. Sills. But we’ll have to take Lucky outside.
DESMOND
If you must.
As Romaldo leads Lucky of the lobby, Desmond turns his attention to Sarah.
DESMOND
Darling.
Desmond embraces Sarah then pulls himself back and looks at her.
DESMOND
You look beautiful.You are more beautiful
than the earth and the sky. You are more beautiful
than this room. And you are, at this
moment and in this light, even more
beautiful than me, I think.
SARAH
Oh, Desmond. How could I ever be more
beautiful than you?

3
DESMOND
YOU’RE RIGHT! Let’s just say that
you’re the most beautiful woman in the
world and I’m the most beautiful man.
SARAH (Indulging him)
The whole world knows that.

DESMOND
RIGHT AGAIN!
Sarah looks towards the dinning room.
DESMOND
Hungry?
Sarah nods her head yes.
DESMOND
Give me your arm.
Sarah entwines her arm with his.
DESMOND
Darling, let me lead you to a banquet.

The two royally walk into the dinning room as the whole room watches.
INT. SARAH’S BEDROOM. DAY.
It’s 1932, 12 years later. While the room is well furnished and obviously belongs to a
woman of great wealth, it’s still a mess. A day old plate of food sits on the vanity.
Clothes are either spewed on the floor or carelessly tossed on chairs. An empty
liquor bottle sits on the nightstand. Sarah sits on her unmade bed with a puffy face
and red eyes. Her hair has not been combed. An ashtray, filled with cigarette butts,
sits next to her. She smokes a cigarette and drinks a cocktail while she speaks.
Sitting opposite her, in an upholstered chair that’s covered with clothes, is a reporter
from PHOTOPLAY. His name is NICK JAMES.
SARAH (Annoyed)
Of course he was an egomaniac.
NICK
I just meant…

4
SARAH
I know what you meant.
(pause)
He was the one man in the world who
had a right to be.
(pause)
Remember, he was my husband.

Sarah rises and walks over to the window. She stares out. Neither of them speak.
They simply exist together – engulfed by the sound of Sarah inhaling and exhaling
smoke. Nick finally works up the courage to proceed.
NICK
You met him while he was, uh, still
working in the theater?

Sarah doesn’t respond. Nick fumbles through his notepad.
NICK
I’ve got in my notes that he was appearing in
a show called “Reaching for…the Stars” or…”Reaching
for the Sky” or something like that.
Sarah turns around and stares at Nick as he leafs through his notepad.
SARAH
It was “Reaching for Heaven.”The name of the
damn show was “Reaching for Heaven.”
NICK (Muttering as he writes it down.)
Yeah, right. “Reaching for Heaven.”

Sarah stares at him.
NICK
So, when you first met him,was it, as they say,
“love at first sight?”
SARAH (Hostile)
I neither liked him or disliked him.

Nick looks slightly alarmed. He chooses his words carefully.

5
NICK
Miss McKay, all we’re trying to do is get a
clearer profile of Mr. Sills…for the magazine.
(pause)
Most of the kids who read PHOTOPLAY today
don’t even know who he was. And since he was the
first true star…

Sarah cuts him off. Anger bolts forth into her face.
SARAH
I WAS THE FIRST TRUE STAR. GET YOUR
INFORMATION RIGHT, BOY. He didn’t
even want to go into the picture business. None
of them did. The only reason he went into
pictures was BECAUSE OF ME. BECAUSE
HE WANTED ME.
Nick looks away. Sarah stares at him, for a moment, and then walks over to the
ashtray to rub out her cigarette. Sarah sits down on the bed.
SARAH (Long pause)
I’m so sorry.
INT. LIBRARY TYPE ROOM AT THE ALGONQUIN HOTEL/1916. NIGHT.
A party is in progress. The room is two stories high with the second story taken up
by wall to wall books. There is a circular staircase on the right and an oak railing
encircles the entire second story.
The room is filled with actors, writers and other theater types. Everyone watches
Desmond as he attempts to “move” around the room via the balusters contained
within the second story’s railing. He reaches out with his left hand and grabs the
closet baluster. Then with his right had he crosses over his left hand grabs the
baluster next to it. As he goes from baluster to baluster his feet swing over the heads
of the large crowd below. No one can see Desmond’s face, and while he is
athletically fit, by the time he is ½ way around the room, the strain of the endeavor
begins to take its toll upon him.
Three of the spectators are of interest to us – the beautiful Sarah who we met in the
first scene. Her mother, Gertrude, who is 50ish and dressed like any other well-
financed matron of her day and Beth Carter Sills, Desmond’s wife. Beth is an
attractive, plump woman.
As Desmond nears the end of his endeavor, one his hands slips and the crowd reacts
with an appropriate amount of post-Victorian apprehension. Eventually, through
sheer determination, Desmond makes it completely around the room. He pulls

6
himself up over the railing and stands with his arms raised high in the air. The entire
room applauds.
With beads of perspiration on his forehead, he bounces down the staircase to
congratulatory handshakes and pats on the back.
Sarah and Gertrude move away from the crowd and make their way to a buffet table
of food and punch.
GERTURDE
His behavior is truly inappropriate.
Sarah doesn’t respond. Instead she fixes herself a buffet plate. Gertrude glances back
at Desmond. He’s on his knees pretending to be a dog begging for food. Gertrude
shakes her head.
GERTRUDE
That man should be locked up.
SARAH (Under her breath)
It took a great deal of physical strength.
GERTRUDE
What dear?
SARAH
I said, it must have taken a great deal of physical
strength.

Gertrude looks at Sarah. Puzzlement appears on her face for she’s unsure as to the
reason for Sarah’s rebellious statement.
GERTRUDE
I suppose it did.
Sarah sets her plate down and picks up a punch cup just as Desmond bounces over to
the buffet table.
DESMOND
Let me get that for you.
He takes the cup from Sarah’s hand and ladles in some punch. As he hands the cup
to her, he stares into her face.

7
DESMOND
I know you. You’re the girl from the picture
plays.You’re name’s, uh….
GERTRUDE
Sarah Mckay.
DESMOND
That’s right. I’ve seen all of your pictures.
You’re really quite good.
GERTRUDE
It has been stated in print that she is the best
actress in moving pictures.

Desmond looks at Gertrude.
DESMOND (To Sarah)
Who’s this?
GERTRUDE
I’m Sarah’s mother. Mrs. Gertrude Hedges.
DESMOND (To Sarah)
Do you talk or are you silent like your picture plays?
GERTRUDE
Of course she talks. Don’t be impudent.
SARAH
I enjoyed your performance this evening, Mr. Sills.
Desmond gets some punch for himself.
DESMOND
I had a wee bit of a problem near the end, but…
SARAH
I meant in the play.
DESMOND
Oh, did you? Well, of course you did. The real
question is, was I as good as I thought I was?

8
GERTRUDE
That, Mr. Sills, would be impossible.

Desmond stares at Gertrude for he’s unsure as to the meaning of her comment. Beth
walks up to the threesome.
BETH
Desmond, there’s a producer, standing over by Birdie
Johnson, who would like to speak with you.
DESMOND (To Beth)
Look who’s here!
Beth looks at Sarah. She tries to remember who Sarah is, but can’t.
BETH
I don’t think we’ve been introduced.
DESMOND
Of course you have. This is Sarah McKay from the picture
plays.
BETH
I’m sorry Miss McKay, but we seldom go to
the moving pictures.

Desmond slaps his forehead with the palm of his hand.
DESMOND
I just told Miss McKay that I’ve seen all of her
performances.

All three look at Beth.
BETH (Embarrassed.)
Forgive me. If Desmond wouldn’t tell so many
stories I wouldn’t be made to look like the
fool, so often.

She turns to Desmond.
BETH
Desmond, we must talk to Birdie’s friend.

9
Beth pulls Desmond away. Desmond turns back and smiles.
DESMOND
I’m glad you liked my performance.
Gertrude moves closer to Sarah.
GERTRUDE
He’s deceptive too.
Sarah doesn’t say anything. She simply takes a sip of her punch.
TIME ELAPSE

Gertrude and Sarah stand near the door. Gertrude helps Sarah on with her coat.
SARAH
I should say good night to Mr. Sills.
GERTRUDE
At the moment, he appears to be busy – making himself look
ridiculous.
Desmond is stranding on his hands in the center of the room.
DESMOND
O.K. Somebody grab my legs!
A man walks up and holds onto his legs. Desmond lifts one of his hands barely off
the floor and attempts to balance himself. He does for a second and then falters and
falls over onto his back. He rolls around on the floor laughing as a male guest grabs
at his feet.
GERTRUDE
That man is a nut.
Sarah watches Desmond roll and laugh.
GERTRUDE
Come Sarah, we must go.
Sarah doesn’t move.
GERTRUDE
Come Sarah.
Sarah reluctantly follows her mother out the door.

10
INT. TRAIN. DAY.
Sarah and Gertrude enter the dinning car. Sitting at one of the tables, alone, is
Desmond. On the table in front of him are 20 to 30 photographs of himself. He’s
holding one photo up staring at his own image. Gertrude stops Sarah.
GERTRUDE
There’s that nut.
SARAH
Oh, it’s Mr. Sills.
GERTRUDE
Let’s return to our compartment.
SARAH
Oh, mother. Can’t we talk to him?
GERTRUDE
I have no intention on conversing with him.
SARAH
Please mother, let me.
Gertrude looks at Desmond – engrossed in himself.
GERTRUDE
I suppose it would be all right. But if he starts
climbing anything, and I mean, anything, come
directly back to our car. It wouldn’t be proper
for you to be around him when he acts like a
wild savage.
SARAH
Yes, mother.
Gertrude hasn’t taken a step before Sarah has begun to make her way towards
Desmond.
SARAH
Hello, Mr. Sills.
Desmond looks up.

11
DESMOND
Sarah! How nice to see you. Tell me, what do
you think? Do you like this picture or…
Desmond picks up another photo of himself.
DESMOND
…this one.Which one captures the true essence of my
virility?

Sarah looks down at the table, embarrassed that Desmond has mentioned a word as
sexually explicit as virility. Desmond looks back and forth at both photos.
DESMOND
Come one. Which one?
SARAH (Still looking at the table)
They’re both very nice.
DESMOND
YOU’RE RIGHT! My handsomeness is
captured in both. In all of them for that matter,
but which photo does it best? Which? Which?
Which? That’s the ultimate question.
SARAH
I like that one.
Sarah points to the photo in Desmond’s right hand. Desmond studies it.
DESMOND
It was my choice too.
Desmond continues to stare at the photo.
SARAH
Tell me Mr. Sills, are you going to Chicago to
perform on the stage?

Desmond looks up.
DESMOND
No. I’m going to meet a man you might know. Jack Perlstein.

12
SARAH
About working in pictures?
DESMOND
Yes.
SARAH
How wonderful. Before you sign, you should talk with
mother. She negotiates all of my contracts.
(Pause)
She negotiated my contract with Essanay. I start work
there next Monday.
DESMOND
Marvelous. If I sign we can work together.
SARAH
That would be splendid.
Desmond looks at Sarah. She picks up one of the photographs and stares at it while
she speaks.
SARAH
Mr. Perlstein is having a party for me on
Saturday…to welcome me. I’m sure he’ll ask
you to attend.
(Pause)
I would be most honored if you would.
DESMOND
Wolves couldn’t keep me away.
SARAH
Oh, there won’t be any wolves.
DESMOND
I don’t know. Is your mother going to be there?

Sarah looks up from the photo and smiles.
INT. WOODED AREA. DAY.
Sarah is dressed in a simple white dress and white leather shoes. Desmond is wearing
white linen pants, white shoes and a white Arrow shirt with very thin black stripes.

13
Sarah watches Desmond as he climbs up a tree. After he gets just slightly up, he
bends back down and extends his hand to Sarah.
DESMOND
Come on.
SARAH
I couldn’t.
DESMOND
You can.
SARAH
But, I’m not dressed…
DESMOND
Come on, you can do it.
Sarah looks around and then reaches up and grabs his hand. She follows him up the
tree until each finds a thick branch to sit down on. Sarah pats her face with a
handkerchief and checks her hair in a compact.
SARAH (V.O.)
Desmond had a stick of chewing

SARAH (V.O.)
gum and offered me half.

Sarah unwraps her half of gum and puts it in her mouth.
SARAH (V.O.)
Proper women didn’t chew gum in 1916, But I
made an exception.
Sarah hands the gum wrapper back to Desmond and he puts it in his pocket.
SARAH (V.O.)
He told me that he had signed with Essanay
that morning and he spoke about all the films
that he hoped to make.
Desmond uses his arms to indicate BIG pictures.

14
SARAH (V.O.)
Yet as he spoke all I could look at was his hair
and his eyes.
Close up on Sarah’s face as she watches Desmond. Cut first to a close up on
Desmond’s hair and then to an extreme close up on his eyes.
SARAH (V.O.)
His hair was so black. And his
eyes glistened with a moistness
that made me want to move closer to him.
Close up on Sarah’s face as she watches Desmond.
SARAH (V.O.)
We talked until it began to rain.
Desmond and Sarah climb down from the tree. Desmond grabs her hand and the two
of them run through the rain. Desmond points to an old wooden shed and they hurry
to it.
INT. SHED. DAY.
SARAH (V.O.)
It was humid in the shed and
the rain pounded down on the roof.

Desmond brushes rain water off Sarah’s shoulders. Water drips off his hair. He
moves closer to Sarah and then he kisses her lightly on the lips.
SARAH (V.O.)
It was the first time a man had
ever kissed me.
INT. SARAH’S BEDROOM. DAY.
It’s 1932 again.
SARAH
I never told my mother.
NICK
But he didn’t make any films in Chicago.
SARAH
No. He never did. When we got back to the house, Mr.

15
SARAH (CONT.)
Perlstein told Desmond that it was because of rainy
weather that he had set up a studio in Hollywood.
Jack said he wanted Desmond to go out to California…
to make films there.
INT. UNION STATION. DAY.
Desmond, Sarah and Jack walk down the platform to the train.
SARAH (V.O.)
While mother stayed at home and studied my
contract, Jack and I saw Desmond off.
Desmond is buoyant and Sarah makes a very valiant attempt at gaiety. They get to
his car, which is next to the caboose, and say their goodbyes. Desmond hugs
Perlstein and then turns and shakes Sarah’s hand. As he holds her hand, he looks into
Sarah’s eyes. He wants to kiss her and Sarah would certainly be receptive to a kiss,
but both realize that they’ll have to be content with merely the touch of the other’s
hand.
With the energy of a 10 year old, Desmond boards the train and races to the
caboose’s observation platform. As the train pulls out of the station Desmond waves
goodbye. Jack waves and then starts back to the concourse, but Sarah doesn’t leave.
She waves and then stands there, alone, watching as Desmond begins his journey to
Hollywood.
INT. CLUB CAR/TRAIN. DAY.
Desmond sits in the club car performing magic tricks for a fellow male passenger.
He inserts an egg into his ear and then pulls the same egg out of his mouth.
SARAH (V.O.)
Jack had given Desmond a script to read and
Desmond stated he would study it day and
night.
INT. DINNING CAR/TRAIN. DAY.
All the tables have been pushed to one end of the car. On one of them sits “the
script.” Desmond stands by the tables and attempts to lasso some children. All the
kids stand with their arms close to their bodies and giggle as Desmond tries and tries.
He doesn’t always succeed in hitting his mark, but that doesn’t stop him.
EXT. TRAIN DEPOT. DAY.
Desmond exits from the train carrying his luggage. A porter follows him and
attempts to grab his bags. Harold Dumphree, Perlstein’s west coast man, waits on the
platform.

16
DUMPHREE
Mr. Sills?

Desmond walks up to him.
DESMOND
Dumphree?
DUMPHREE
Let me help you.
Dumphree attempt to take one of Desmond’s suitcases, but Desmond shakes his head
“no” and pulls his cases closer to him. Dumphree doesn’t press the matter. The two
begin to walk away.
DUMPHREE
On behalf of Essanay, I would like to welcome
you to California. We’ve set you up in a fine
suite, over at the Alexandria.
INT. ALEXANDRIA LIBBY. DAY.
Desmond, alone, walks up to the desk. The concierge, Romaldo (who we met in the
first scene) helps him.
ROMALDO
You would like a room?
DESMOND
There should be a suite reserved for me.
Desmond examines his nails as he speaks. He doesn’t look at Romaldo.
ROMALDO
Under what name?
DESMOND
Sills or possibly under Essanay Studios
ROMALDO
You’re in the theatrical profession?

Desmond looks up.

17
DESMOND
I’m on the verge of becoming the world’s
greatest moving picture star.
Desmond blinks his eyes. Mr. Dumphree walks up to Desmond.
ROMALDO
Sir, we request that you pay in advance.
DUMPHREE (Gritting his teeth)
Happy to.
Dumphree pulls out a wad of bills. He pushes more than enough across the counter.
DUMPHREE
This should cover the first month.
ROMALDO
Suite 601.
Romaldo hands Desmond the key and rings for the bellboy. Desmond picks up his
luggage and heads for the elevator accompanied by Dumphree. A bellboy follows the
two attempting to grab Desmond’s luggage. All three enter the elevator and as the
doors close, Desmond and the bellboy can be seen fighting over the luggage.
EXT. STUDIO LOT. DAY.
Close up on a make-up man’s make-up case. He carries it over to the chair that
Desmond sits in and begins to apply make-up to Desmond’s face. The make-up man
is obviously gay and Desmond derives some amusement from the fastidious care that
the make-up man displays while applying the make-up. A slight smile erupts on his
lips.
There’s a great deal of activity going on too. Extras parade around. The cameraman
looks through the camera. The director’s assistant takes notes, while the director
Nieland Thomas, converses with Desmond. Desmond listens intensely. He’s trying
to imagine the scene.
NIELAND THOMAS
You’re angry. Real angry. The Jones boys have
just robbed the stagecoach. Then they ride into
town. Your town…
CUT TO:

18
INT. MOVIE THEATER. NIGHT.
An audience is watching a picture. It’s Desmond’s picture. The image creaks its way
across the screen. Perlstein and Dumphree sit to the right of Desmond, Nieland
Thomas sits to the left. Like the audience, Desmond is engrossed in the film. He
can’t take his eyes off himself.
IMAGE ON THE SCREEN: Desmond saunters out of the sheriff’s office. In one
hand he has a gun and in the other a lasso. The Jones Boys walk out of the saloon.
They see Desmond. Desmond sees them. One of the Jones Boys pulls his gun. He
shoots. He misses. Desmond returns fire and hits him. He falls. The other Jones Boy
shoots at Desmond, but misses too. Desmond uses his lasso and lassos the other
Jones Boy.
He pulls the rope tight. The Jones Boy’s arms are stuck close to his body. He turns
his gun up slightly and tries to shoot, but before he can, Desmond shoots the gun out
of his hand. Desmond glares at the Jones Boys.
Desmond walks over to the lassoed Jones boy and snarls at him. A title card come
up. It says, “Waco is a safe place again.”
With the Jones Boy still lassoed, Desmond leads him to the sheriff’s office. An “iris”
blackens the screen followed by “THE END.”
The lights come up in the theater and the audience burst into applause. Desmond
turns to Perlstein.
DESMOND
Did you see how I shot that gun out of his hand!
PERLSTEIN (to Desmond)
Good Job.

Perlstein leans forward and looks at Nieland, both nod their heads in approval.
INT. DESMOND’S STUDIO BATHROOM. DAY.
As Desmond looks in the mirror and trims not only his moustache, but his nose and
ear hair too, Dumphree reads from a copy of MOTOGRAPHY.
DUMPHREE
The new Essanay Pic, “The
Waco Sheriff” brings to the
screen former Broadway actor
Desmond Sills in the title role.

Sills who has appeared on the
legit stage in both MANHANDLED

19
DUMPHREE (CONT.)
and REACHING FOR HEAVEN is
likely to have a stellar future in
pictures, for his performance in
WACO is both self-assured and
dynamic.

Early distributor returns indicate
that WACO is drawing huge
crowds and good world of mouth.

Note to exhibitors: Sills is next
set to appear in THE AMERICANO
also for Essanay.

Desmond twists the ends of his moustache and smiles.
DESMOND
They like me.
EXT. PERSTEIN’S OFFICE DAY.
Sarah and Gertrude sit in front of Perlstein’s desk. Perlstein has his back to the
camera.
PERLSTEIN
I’ve decided to close the Chicago
studio and move all our
operations out to the vest coast.
GERTRUDE
California?
Perlstein nods his head.
GERTRUDE
But there’s nothing there but
oranges and Indians.
PERLSTEIN
So, you’ll buy a tomahawk and
make orange juice.

Gertrude genuinely looks lost.

20
GERTRUDE
What will we do?

Sarah doesn’t respond in either a positive or negative way. She simply sits thinking.
INT. PRIVATE TRAIN. DAY.
As Gertrude talks, Sarah holds up infront of her face, a copy of “MOTOGRAPHY.”
The same issue that contains Desmond’s review from THE WACO SHERIFF. She
stares at the photo that accompanies the review.
GERTRUDE
This is a mistake. As soon as your contract is
up, we’re going to sign with another company.
Gertrude brushes off her dress nervously.
GERTRUDE
And we’re going to make sure that they’re
based in civilization and stay based in
civilization.
Gertrude shakes here head.
GERTRUDE
California. What a muddle we’ve gotten
ourselves into.
Sarah’s eyes look over the top of the magazine. She looks at her mother and then
shifts her gaze back to the photo of Desmond.
EXT. MOVIE LOT. DAY.
Nieland Thomas escorts Desmond over to Gilbert Moreno. Moreno is a handsome
Latin man with a thick moustache, black hair and a good built.
NIELAND THOMAS
Desmond, I want you to meet Gilbert Moreno.I
just signed him for the part of Manuel.
Desmond extends his hand.
DESMOND
Como estas usted?
GILBERT
Hablas Espanol?

21
DESMOND
Poquito. Senor Thomas,
aqui, has hired a Latin beauty
to instruct me in the art of
your language.
GILBERT
I see. Maybe this Latin
beauty could come over to
my dressing room and
instruct me too?

Desmond slyly smiles.
DESMOND
No. No. No. She’s only
instructing me in the
verbal aspects of your
language.
GILBERT
I like verbal.
DESMOND
I bet you do.
Both men are laughing when Sarah walks onto the set. Nieland Thomas spots her and
dashes over to her as Desmond and Gil continue to converse.
NIELAND
Sarah, How do you like the Alexandria?
SARAH
Mother’s content.
NIELAND
Then it must be fine.
(Pause)
Let me introduce you to
Gil and Desmond.

Sarah begins to protest but it’s too late.

22
NIELAND
Desmond. Gil.
Both men turn around and see Sarah. She stands there with the sun radiating down
upon her. Gil’s gaze upon her is sexual in nature, while Desmond’s is one of happy
recognition.
DESMOND
Sarah!
Desmond and Gil walk over.
SARAH
Hello Mr. Sills.
NEILAND
You two know each other?
Desmond looks into Sarah’s eyes.
DESMOND
We met in the rain.
Both Gil and Nieland look confused.
GIL
Por favor, somebody introduce me to esta mujer bonita.
DESMOND
Sarah McKay, I would like you to meet Gilbert
Moreno.

Sarah extends her hand. Gil clasps it in his and bends over to kiss it. Right before he
makes contact though, a large, white, veiny, liver spotted hand inserts itself into the
action and yanks Sarah’s hand back. It’s Gertrude’s.
GERTRUDE
Let Sarah go.
Desmond recognizes Gertrude and throws his head back with laughter.
NIELAND
Gil, Let me introduce you to
Sarah’s mother, Gertrude.

Gil computes this information and extends his hand. Gertrude ignores it.

23
NIELAND (To Gertrude)
Mr. Moreno, here, is starring
in THE AMERICANO along
with Desmond.

Not sure of what to do, Gertrude opts for being polite. She extends her hand and Gil
gallantly bends over to kiss it. As he bends over though, we can see that a sour look
has replaced the desire that was previously on his face and that he closes his eyes
before he makes contact.
Gil returns to an erect position and Gertrude seems momentarily won over.
GIL
It is an honor to meet you.
Gil turns and looks at Desmond. Desmond stands straight-faced for a moment and
then cracks up. He begins to laugh and continues to laugh as the five of them stand in
the beautiful golden sunlight of Southern California.
EXT. MOUNTAIN ROAD. EARLY MORNING.
A convoy of trucks and cars make their way up a mountain road.
SARAH (V.O.)
Essanay was constructing a
story for me, but until
it was finished my time was
my own.

On most days I went to the
studio and talked with
Desmond and Gil.

Mother came along
usually, but on this
particular day, she
needed to purchase some
undergarments from
one of the big
department stores down-
town, so I ventured
to the studio alone. (Pause)
Mr. Duphree told me
they were going up to
the mountains… to do
some location work.

24
INT. BACK OF A LARGE TRUCK. DAY.
Desmond, Gil and Sarah all sit on the bed (or floor) of the truck. Desmond and Gil
sit on one side, while Sarah sits across from them. Gil smokes a cigarette. The road is
uneven so the ride is bumpy.
SARAH
Mother will be upset.
DESMOND
She doesn’t like you out of her sight.
SARAH
Since father died, she’s only
had me for company.

DESMOND
Maybe she should remarry?
Desmond points at Gil.
DESMOND
Gil’s available.
Gil starts to cough.
SARAH
I don’t think Gil likes the
idea. But, even if she did
remarry, it would be
difficult for her to be away
from me.
DESMOND
Hmmm.
None of them speaks for awhile.
SARAH
Isn’t. it…
Sarah stops.
SARAH
It would seem as if…

25
Sarah stops. Desmond tilts his head slightly, like Nipper, the RCA dog and waits.
SARAH
If I were you, I would
be most anxious…
being away from Mrs.
Sills. Is it difficult?

Gil starts coughing again.
DESMOND
Beth won’t come to
California. She wouldn’t
think of leaving New York.

SARAH
Don’t you…
She stops.
SARAH
Don’t you…
Desmond interjects.
DESMOND
…miss her?
Sarah nods her head yes. Desmond pauses before he speaks.
DESMOND
I guess.
EXT. MOUNTAINS. DAY.
The crew unload the trucks. Once this is finished they begin their trek through the
mountains. A boisterous line heads into the forest with Desmond and Sarah bringing
up the rear.
After walking for a ½ a mile or so, the group comes to a stream that’s not too deep.
Undeterred by this minor obstacle, the men take off their shoes and socks and begin
to wade across. Desmond does the same. Sarah begins to unlace one shoe but then
stops.
Desmond enters the stream and gets about ¼ of the way across - at which point - he
turns around and looks for Sarah. He sees her standing on the shore’s edge looking

26
indecisive. He watches as a warm breeze slowly blows the bottom of her dress
around her shapely calves. Desmond quickly rushes back, sweeps Sarah up into his
arms and gracefully carries her across the stream.
Once on the other side, he doesn’t set her down, for if he did, he would miss an ideal
opportunity. Instead, he holds her in his arms and looks into her eyes. A wisp of her
hair cascades down onto her cheek. Desmond blows it back with the slightest amount
of effort and then he kisses her…on the lips.
Sarah doesn’t resist. She closes her eyes and willingly accepts what she’s waited for
since that rainy day back in Chicago.
INT. SARAH’S BEDROOM. DAY.
Sarah sits on the bed. She stares straight ahead. Nick is ill at ease.
NICK
Miss Mckay.
Sarah looks disoriented.
SARAH
Oh, Mr. James.
(pause)
Why don’t you come back…

Sarah shakes her head.
SARAH
…some other time.
NICK
Sure.
Nick gets up to leave and makes his way to the bedroom door.
SARAH
Are you going to see Gil?
NICK
On Friday. First, I’m going
up to San Francisco to speak
to with the first Mrs. Sills.

SARAH
Beth?

27
Nick nods his head yes. Sarah turns away from Nick as he leaves the room.
INT. DINGY HALLWAY IN FRONT OF AN APARTMENT. DAY.
The door opens and a large unkept woman, in a housedress, stands before Nick. A
cigarette hangs from her lips. It’s Beth.
BETH
You got the money?

Nick gets out his wallet and hands her a ten dollar bill.
BETH
Come on in.
INT. APT. DAY.
The apartment is a dump. While Sarah may be untidy, Beth is quite simply dirty. She
leads Nick into a small kitchen whose sink is full of dishes. The floor needs to be
swept. The vinyl covered table is littered with the remnants of lunch and yesterday’s
dinner.
BETH
Sit down.
Beth points to a chair at the kitchen table. Nick sits down and puts his hands on the
table only to discover the traces of chicken soup. He lifts his hands up with a look of
disgust on his face. Beth realizes what’s happened and tosses him a dish rag. Nick
wipes off his hands and the table in front of him. He pulls out his notepad and his
cigarettes. He lights up. Beth walks over to the table.
BETH
Give me a cigarette.
Nick hands her his pack. She takes one out and lights it. She then puts the pack in her
pocket. Nick notices, but doesn’t say anything. Beth sits down across from him.
BETH
Who have you talked to?
NICK
Just Sarah, so far.
Beth rolls her eyes.
BETH
I hear she’s a lush.

28
Nick doesn’t respond.
BETH
Sitting up there on easy street. I don’t know why she’s
drinking. Nick doesn’t say anything.
BETH
Did she mention anything about the will?
NICK (Hesitantly)
No.
BETH
I haven’t been notified. (Pause) My luck.

They both sit and size each other up.
NICK
I was hoping you could tell me
something, anything, about your
divorce from Mr. Sills.
BETH
Well, he gave me a huge
settlement. A hundred
thousand dollars.

Nick’s eyes wander about the room. Beth laughs.
BETH
I lost it all in ‘29. What
little I had left, was spent by
that lazy son of a bitch Hendrick.
NICK
Your second husband.
Beth nods yes.
BETH
The only thing he was good
for was sex, but I sure ended
up paying for it in the end.

29
Nick doesn’t want to go into that subject so he steers the conversation back to
Desmond.
NICK
Sarah mentioned that she became “close” to
Mr. Sills while he was filming THE
AMERICANO.
BETH
Oh, did she? It’s about time that
rummy was honest about it.

Nick directs her.
NICK
The Americano…
BETH
Yeah, you’ll get your money’s worth.
(Pause)
After WACO SHERIFF, Desmond always
played the same part, well, until he did those
costume pictures. In all his films he was the
idealistic young man who climbs to the top and
becomes a success. THE AMERICANO was
the first one of his pictures to use the formula.
NICK
You said it was at the premiere…
BETH
I’m getting to that part.
She takes a drag off her cigarette.
BETH
It was held in one of those
big movie theaters in
downtown Los Angeles.
She was there, along with that
“tank” of a mother of hers.
And that spic was there too.
It was all nice and cozy, but
they didn’t fool me.

30
EXT. MILLION DOLLAR THEATER. NIGHT.
Fans surround the entrance of the theater. A red carpet runs from the curb to the
doors. An announcer stands near the entrance. A car pulls up to the curb. Out steps
Gil, followed by Sarah and Gertrude.
ANNOUNCER
It’s Sarah McKay and Gilbert Moreno!

The crowd surges forward. Sarah wears a white silk dress with beadwork around the
collar. She also wears a stylish hat with pink plumes. Moreno is in a tuxedo. They
walk up to the announcer and exchange pleasantries. A hush falls over the crowd.
Without the aid of a microphone Sarah addresses the crowd.
SARAH
I’m so happy that you’ve all come tonight. I’ve
heard great things about THE AMERICANO
and I’m most anxious to see it.
A second car drives up to the curb. The door opens and Desmond gets out. The
crowd wails. Desmond helps Beth out of the car. Beth wears a beautiful green draped
dress that exposes her shoulders. She has a tasteful string of pearls around her
abundant neck and on top of her head sits a small hat accented with large peacock
feathers.
Beth trails Desmond as he shakes hands with the fans that line the velvet ropes. The
crowd surges forward and the police have difficulty keeping the people back.
Desmond grabs Beth’s hand and escorts her up to the announcer. Desmond talks to
the crowd but he’s almost inaudible due to their hysteria.
DESMOND
We’ve put our heart into this film. And it’s great.
Come back tomorrow and see it. I love you all!

Desmond holds both hands up over his head and waves at the fans as if they were
planes being waved down. Beth, Gil, Sarah and Gertrude enter the lobby. Desmond
starts to enter the building but then turns around at the door and blows kisses at the
fans. Beth grabs him by the arm and pulls him in.
INT. THEATER LOBBY. NIGHT.
BETH (To no one in particular)
They really are common.

31
INT. THEATER. NIGHT.
The theater is packed with the film community. Desmond, Beth, Perlstein and
Dumphree sit in one row. Behind them Gil, Sarah and Gertrude sit. Just before the
picture starts Desmond turns and looks at Sarah. He grins. Sarah looks nervous but
manages to smile. Beth turns to see who Desmond’s looking at. She sees Sarah
smiling. As the lights go down, it’s evident that there’s a faint trace of suspicion on
Beth’s face. She slowly turns her attention back to the film.
INT. BILTMORE BALLROOM. NIGHT.
An orchestra plays ballroom music as Gil and Sarah dance. Also, on the dance floor
are Desmond and Beth.
BETH
He’s rather attractive.
DESMOND
Who?
BETH
Gilbert Moreno.

Beth waits for a response.
DESMOND
Yes, I suppose he is.
BETH
It amazes me that Gertrude allows that.

Beth uses her head to indicate Sarah and Gil.
DESMOND
Oh, Gil’s won Gertie over.
BETH
He has?
DESMOND
Uh, huh.
BETH
Tell me Desmond, who have
you won overly lately?

32

Desmond doesn’t respond. Instead he swirls Beth around the dance floor.
CUT TO:
Desmond swirling Sarah around the dance floor. Beth watches.
DESMOND
After the tour darling….
Sarah looks into Desmond’s eyes.
SARAH
Oh, Desmond.
INT. BETH’S NEW YORK APARTMENT. DAY.
Beth lounges on a chaise, serenely reading a book. Birdie Johnson is in the room
reading the paper.
BIRDIE
Here’s a photograph of Desmond.
BETH
What for?
BIRDIE
Something about a tour.
BETH
Read it.
BIRDIE
It says, “Desmond Sills currently starring in
THE AMERICANO was in San Francisco
yesterday for the start of the Essanay War Bond
Tour.
Sills is being accompanied on the tour by his
AMERICANO co-star Gilbert Moreno and
Sarah McKay who also work for Essanay.

Their next stop is Denver, followed by St. Louis, Chicago,
Washington, D.C. and finally New York.

33
Birdie moves over to the chaise. She hands the paper to Beth who stares at the
photograph of Desmond, Gil and Sarah standing in front of a bank. Birdie leans in
close, over Beth’s shoulder.
BIRDIE
She’s quite beautiful, don’t you think?

Beth stares at the photograph.
INT. BETH’S NEW YORK APT. DAY.
Beth lounges on the chaise. Birdie reads the paper.
BIRDIE
Here’s another photo of Desmond.

She gives the paper to Beth. The photo shows Desmond, Gil and Sarah, in front of a
mountain range, smiling for the camera.
BIRDIE
Her hair is so long and so gorgeous.

Beth turns away form the photograph and looks at Birdie.
INT. BETH’S NEW YORK APT. DAY.
Beth is sitting in a chair. So is Birdie. Birdie reads the paper.
BIRDIE
They’re in St. Louis.
Birdie looks at the photo as she walks over to Beth. Consequently, she doesn’t notice
Beth’s angry glare. She hands the paper to Beth. The photo shows Desmond, Sarah
and Gil with their arms around each other. Sarah’s in the middle.
BIRDIE
I’ve always wanted to be
surrounded by handsome men.

Beth seethes.
INT. BETH’S NEW YORK APT. DAY.
Beth cracks walnuts with a nutcracker. Birdie reads the paper.

34
BIRDIE
Isn’t this a cute photo?

Birdie walks over to Beth with the paper. The photograph is a full length shot of
Desmond and Sarah. They have their heads together and they’re smiling. Beth stares
at the photograph.
BIRDIE
I bet she purchased that dress at
Marshall Fields. It’s so stylish.

Beth throws the paper down on the floor, slams the bowl of walnuts on the coffee
table and storms out of the room.
INT. BETH’S NEW YORK APT. DAY.
Birdie is not present. Beth stares at a photo of Desmond and Sarah clowning around
in front of the Washington Monument. Beth glares at the photograph.
INT. BETH’S NEW YORK APT. DAY.
Beth stares at Desmond who stares out the window.
BETH
…I simply won’t.
Desmond doesn’t respond.
BETH
You’ll either sever your
relationship with her or I’ll…

Beth stops. Desmond doesn’t turn around, he continues to look out the window.
DESMOND
Or you’ll what?

Beth pauses.
BETH
Or I’ll contact a lawyer.
Desmond turns around.
DESMOND
Harry Beechum’s good. Contact him.

35
EXT. STREET. DAY.
Sarah and Gertrude are being pursued by reporters. They quickly stop and one of the
reporters accidentally bumps into Gertrude.
Gertrude scowls at him and then deliberately hits him with her handbag. The reporter
looks confused. HE KEEPS ONE EYE ON Gertrude as he asks Sarah a question.
REPORTER
Miss McKay, is it true that
once Mr. Sills obtains his
divorce the two of you are
going to be married?

GERTRUDE
You don’t have to answer that Sarah.

Sarah appears nervous and awkward. She can barely get the words out.
SARAH
That’s absurd. Mr. Sills and
I have only a professional
relationship. We have no
intention of ever getting married.

INT. SMALL CHAPEL. DAY.
Desmond and Sarah stand in front of a minister. Gil and Gertrude are best man and
maid of honor. Perlstein and Dumphree are the only guests.
SARAH
I, Sarah McKay, take thee, Desmond Sills to be
my lawfully wedded husband. To have and
hold in sickness and in health, for richer or
poorer from this day forward to death do us
part.
MINISTER
The ring please.
Gil gives Desmond the ring. Desmond slips the rind on Sarah’s finger.

36
MINISTER
By the power invested in me by the state of
Nevada, I now pronounce you man and wife.
You may kiss the bride.
Desmond leans in very carefully and the two kiss. Perlstein and Dumphree applaud.
A crying Gertrude hugs Sarah first and then Desmond. Moreno shakes Desmond’s
hand and kisses Sarah on the cheek.
INT. BETH’S APT. DAY.
Same as before.
BETH
I didn’t think he’d risk it.
Figured he’d be too afraid
of what it would do to his
career, to her career.
NICK
…but the public didn’t care.
BETH
Hell, no. They ate it up.
Their marriage was all over
the papers the next day
with a full account of what
happened.

Beth grinds out a cigarette.
BETH
You realize you’re looking at a fool, don’t you?

Nick takes a drag off his cigarette.
EXT. POOL. DAY.
Gilbert Moreno looks exceedingly handsome as he sits bare-chested under the shade
of a patio umbrella. He’s fit, affluent and obviously enjoying life. Sun bathing, on
the other side of the pool is a young shapely blonde in a two piece swimsuit. Both
Gil and Nick smoke and large glasses of Sangria sit nearby. Nick is overdressed for
both the day and the sun. He squints in the shade.
GIL
She got what she deserved.

37
GIL (CONT.)
She always pretended to be
high society but at best…

Gil crunches up his shoulders and raises both palms to the sky.
GIL
…She was café society. No mas. She
exposed her true color when she filed
for divorce. I ask you hombre, would
una mujer simpatico air private matters
in public?
Moreno doesn’t wait for an answer.
GIL
Ella si. She named Sarah as the
respondent in the proceedings.

Moreno takes a drag off his cigarette.
GIL
Most women would be too embarrassed
to admit they couldn’t hang onto a man.
Not that one.
She was as common as they come. Did
you know that she was a sales clerk
when The Americano met her?
Moreno pauses.
GIL
She’s back where she started
and back where she belongs.
no tengo simpatico para
esta mujer. No.
NICK
Beth said she didn’t think
Desmond would risk a divorce.
GIL
Si, pero El Americano tiene cahones muy grandes.
Gil leans in.

38
GIL
He had balls. He didn’t care.
He knew there was a chance
that it would ruin his career, but
he loved Sarah too much not to
marry her.

Moreno exhales.

GIL
Perlstein, Dumphree and La
Mamasita, ellos, they were
the ones that were nervous.

INT. WEDDING CHAPEL. DAY.
Desmond and Gil talk with the minister. Perlstein, Dumphree and Gertrude
conference.
DUMPREE
I’m telling you, they don’t
care. I’ve tried everything.
PERLSTEIN
Vhy me?

Gertrude rings her hanky and cries.
GERTRUDE
I’ve worked so hard. What a
muddle this has become.

Gil turns and smiles at the three.
DUMPHREE
You can’t stop the wedding.
PERLSTEIN
Vho said I vanted to stop the
vedding. I’m as happy as any
man on the verge of financial
ruin can be.

39
GERTRUDE
Isn’t this a tragedy?
DUMPHREE
What are we going to do?
PERLSTEIN
I’ll tell you what you’re
going to do.

Perlstein points to Gertrude.
PERLSTEIN
You’re going to go and
get the bride so ve can start.

Getrude looks lost.
GERTRUDE
Heaven help us all.
Gertrude goes for Sarah. Perlstein points at Dumphree.
PERLSTEIN
And you’re going to stop me
from killing myself.

Perlstein walks over to the wall and starts banging his head against it. Dumphree
rushes over and pulls him away from the wall.
PERLSTEIN
May God give the bank
vho holds the mortagage on
my home patience.

Gertrude rushes back into the room.
GERTRUDE
She’s ready. Everybody take their places.
INT. ALTER. DAY.
Gil and Desmond stand to the left of the minister, a crying Gertrude to his right.
Perlstein and Dumphree stand slightly behind the others. The pianist starts the
wedding march. Sarah enters the room. She has her hair swept up on her head and

40
has small lilacs in it. She walks up to Desmond. His face reveals a look of total
adoration. There’s a dreamlike quality to the ceremony.
We don’t hear what any of them says. The minister begins. Desmond says his lines
and then Sarah says hers. She watches him place the ring on her finger and then they
kiss. It’s a soft kiss. Perlstein and Dumphree clap. On his final clap, Perlstein holds
his hands together as if he were praying, and looks up to Heaven.
Gertrude cries and hugs both of them. Gil shakes Desmond’s hand and then takes
Sarah’s. He starts to bend over to kiss it, but then stops. He looks up at Gertrude and
laughs. He kisses Sarah on the cheek and then kisses Gertrude too.
EXT. WEDDING CHAPEL STEPS. DAY.
The minister, Getrude, Perlstein and Dumphree throw rice at Desmond and Sarah as
they hurry out of the chapel and get into their car. Sarah smiles at her mother as they
pull away from the curb. Gertrude cries.
INT. HONEYMOON SUITE. NIGHT.
A bare-chested Desmond slowly approaches the bed. Sarah lies under the blankets.
Her hair is down and it caresses her bare flawless shoulders. Upon her face is a look
of apprehension. Desmond climbs into bed. All we see is his bare back and part of
Sarah’s face. He kisses her on the lips and then on the neck.
EXT. OCEANLINER BERTH. DAY.
Desmond and Sarah hold hands as they make their way to the gang-plank. Crowds of
people mill around. A young woman notices the two and pulls on her girlfriend’s
sleeve. She points. The two women rush up to Desmond and Sarah. They ask for
autographs.
(Though we can’t hear them ask, because of the departure noise.) More fans notice
the couple. Desmond and Sarah are overrun. They sign autographs right and left. A
woman moves in close to Desmond and kisses him on the lips. Desmond looks
surprised. Sarah pulls Desmond closer to her. Stewards rush down the gang-plank
and help escort the couple to the ship. Sarah and Desmond wave to the crowd from
the deck. Desmond puts his arms around Sarah, pulls her close, and kisses her. The
crowd cheers.
EXT. BIG BEN/LONDON. DAY.
Desmond and Sarah walk away from Big Ben. They cross the Thames via a bridge.
Suddenly a car screeches to a stop next to them. A man and woman jump out of the
car, leaving their doors open, and run up to Sarah and Desmond. They push paper
and pens at them. Desmond and Sarah oblige. More cars stop. More people get out.
More fans rush for autographs. Soon all traffic on the bridge, going both ways, has
stopped as a larger and larger crowd forms around the two.

41
EXT. COLISEUM/ROME. DAY.
Sarah, dressed like a peasant, snaps a photo of Desmond, who is making a valiant
attempt at looking both Italian and swarthy. Out of he corner of his eye, Desmond
spots a woman who has recognized them. He rushes up to Sarah, grabs her by the
hand and the two run off down the street laughing.
EXT. PYRAMIDS/CAIRO. DAY.
Desmond is dressed like a sheik and holds the bridle to a horse in his hand. Sarah is
dressed like an Egyptian. A photographer snaps their photograph. Desmond, though
dressed like a sheik, starts walking like an Egyptian. Both of them “camp it up” for
the photographer until Sarah notices some American tourists have seen through their
disguises. She points them out to Desmond. Desmond jumps on the horse, pulls
Sarah up behind him and takes off. Sarah wraps her arms around Desmond’s waist as
they gallop past the pyramids and into the sunset.
INT. ALEXANDRIA HOTEL. DAY.
Gil walks down the long corridor that leads to the lobby. Coming from the opposite
direction is Lucky. Desmond’s horse. He’s being led by Romaldo. Gil walks up to
Lucky and pats him on the nose. Lucky snorts.
GIL
I see The Americano esta aqua.
ROMALDO
Yes. They’re in the restaurant.
Gil kisses Lucky on the side of the head and continues to make his way to the
restaurant. Lucky snorts as he’s led out to the street.
INT. RESTAURANT. DAY.
Desmond and Sarah sit at a table sipping tea. Gil enters the restaurant and the
maitre’d leads him over to their table. Gil kisses Sarah on the cheek.
GIL
How was the honeymoon?
DESMOND
Crowded.
Gil smiles.
GIL (To Sarah)
What’s the big news.
Sarah looks at Desmond.

42
DESMOND
We’ve decided to form our own company.

Gil looks at both of them.
GIL
What about Essanay?
What about Perlstein?
SARAH
We’re not going to re-sign.
GIL
He isn’t going to like this.
INT. PERLSTEIN’S OFFICE. DAY.
Desmond and Sarah sit with their backs to the camera. Perlstein stands behind his
desk, shaking his hands and looking up to heaven. Perlstein pleads. Desmond and
Sarah try to explain. (We can’t hear what they say.)
GIL (V.O.)
In the end, Mr. Perlstein realized
that he couldn’t hold them.

Perlstein, Desmond and Sarah stand near the door. Perlstein shakes their hands and
then tries to physically shake some sense into Desmond. He grabs Desmond by the
shoulders and shakes him back and forth until Sarah intervenes.
EXT. SMALL STUDIO LOT. DAY.
Desmond and Sarah tour a run-down lot. They walk through offices and over the
standing sets.
EXT. LOT ENTRANCE. DAY.
Sarah and Desmond stand at the lot’s entrance. Above them, workmen set into place,
a large sign. It says KAYSILL PHOTOPLAYS. A photographer snaps a photo of
Desmond and Sarah once the sign is in place.
INT. OFFICE HALLWAY. DAY.
The camera rolls down the hallway of the KAYSILL offices. Both walls are covered
with framed posters. On one wall there are posters advertising Desmond in
“PARDON MY SPEED,” “TO THE TOP,” “GOING ALL THE WAY” and “IF AT
FIRST YOU DON’T SUCCEED.” On the opposite wall are posters advertising

43
Sarah in “AN AMERICAN GIRL IN TOKYO,” “THE DIME STORE CLERK” and
“WOMAN OF THE PLAINS.”
GIL (V.O.)
Their company enjoyed great success at first.
INT. SARAH’S OFFICE. DAY.
Sarah and Gertrude look over “the books.” Neither one looks very happy. Sarah
looks downright glum.
GIL (V.O.)
But Sarah made mistakes…
INT. THEATER. DAY.
Sarah and Gertrude stand in the back of an almost empty theater as one of her
pictures plays. They walk out of the theater and out onto the sidewalk. The marquee
reads, “THE WILD GIRL.” Gertrude attempts to console Sarah. She kisses her on
the cheek and pats her hands.
EXT. MOVIE THEATER. DAY.
Two fans stand outside the theater looking at a poster from Sarah’s latest film,
“MARY, QUEEN OF SCOTS.” The fans look at the poster and then at the box-
office. One of them brings his fingers up to his lips and pretends to stifle a yawn.
They look at the poster for a minute longer and walk past the box-office and away
from the theater.
INT. DESMOND’S OFFICE DAY.
Desmond, Gil and Jack Wolfe (Desmond’s new right hand man) sit listening to a
writer’s pitch.
WRITER
…then you expose how
the boss character has been
stealing from the company….

Jack interrupts.
JACK WOLFE
Didn’t he do that in “UP, UP, UP?”
GIL
No, he did something similar in
“PARDON, MY DUST.”

44
DESMOND
No. You’re both wrong. It was in
“GOING ALL THE WAY.”
Gil realizes that he’s made a mistake. He shakes his head yes.
GIL
Si. You’re right.
The writer looks worried.
WRITER
…but in this picture, there’s a
twist. Your boss is a woman and
you don’t expose her till you’ve
seduced her…

Desmond laughs.
JACK WOLFE
A woman boss? Who’s going to believe that?
GIL
Me gusta esta novella.
DESMOND
No. No. No. It’s no good.
I’ll look like a heel.

Desmond sits thinking.
DESMOND
I need to do something different.
Something that will display my
true talent. My true versatility.
My artistry. My range.

Jack looks around the room. He waits for someone to speak up. No one does.
JACK
I’ve got something in my
office that might be right.

45
DESMOND
Well go get it man. The public’s waiting.
Jack gets up, goes to his office and comes back. In his hand he carries a book He
hands it to Desmond. It’s THE ARABIAN NIGHTS. Desmond looks at the book’s
cover and then up at Wolfe.
EXT. MOVIE SET DAY.
Desmond is dressed like a genie. He wears a turban, an earing on each ear, harem
pants and genie shoes. He’s also bare chested. As the camera rolls, Desmond runs to
the balcony, leaps off it and grabs a rope that’s suspended from a rafter.
CUT TO:

INT. MOVIE THEATER SCREEN. NIGHT.
He swings across the screen to a platform where a female American tourist (who’s
been kidnapped by an evil sultan) is tied up. He quickly unties her and carries her
down a huge winding staircase. But wait. An army (well, actually 6) of the sultan’s
henchmen race to the bottom of the staircase. Desmond and the female tourist stop.
They’re trapped.
It looks like they’re about to meet their deaths when Desmond quickly yanks out one
of this earrings and throws it at the henchmen. They’re startled. With them
momentarily confused, Desmond quickly jumps up and kicks one of the henchmen in
the face. He drops his sword. Desmond grabs it and battles the other five. Swords
clank right and left as Desmond eliminates each one of them.
He then turns back and grabs the hand of the female tourist. The two run out of the
palace and bolt into the street. There they find two huge guards who advance towards
Desmond and his charge. Desmond pushes the American tourist back as he jumps up
into the air and kicks both guards in their respective chests. He then karate chops
them as they do down. He grabs a horse that is standing, conveniently nearby, and
extends his hand to the American tourist. She races up to him. He quickly helps her
onto the horse. They look longingly into each other’s eyes and then he jumps up
behind her. He uses his heels to start the horse and the two of them race out of the
city and into the desert. “THE END.”
INT. MOVIE THEATER. NIGHT.
Desmond rises from his chair as the house lights come up. He has his arms and hands
extended up, towards the ceiling. He accepts the cheers and applause of the audience.
Sarah sits to this side. There is a look of adoration and pride upon her face.
EXT. POOL AT MORENO’S PLACE. DAY.
Same as before. The bikini clad young woman walks up to Gil.

46
BIKINI WOMAN
Gilly, I’m gonna get ready.
Gil nods his head yes. The blond bends down and kisses him on the cheek. As the
blonde walks away, Nick looks at Gil for an explanation.
GIL
We’re meeting some
compadres for dinner.

Nick realizes that it’s time for him to go.
NICK
I should get going too.
Just one last question
Mr. Moreno, “What happened?”
“They seemed perfect for
each other.”

Gil grins.
GIL
They were perfect.
Gil takes a drag off his cigarette.
GIL
When it happened, people said it was
because they were in love with each
other’s fame…and when that slipped
away so did their love.
Gil shakes his head.
GIL
That’s not it. They were perfect
together, but I’ll tell you
something amigo. Nothing can
stay perfect forever.
INT. SARAH’S BEDROOM. DAY.
The room hasn’t changed much since Nick’s last visit. New dirty plates have
replaced the old dirty plates and new discarded clothes have only been added to the
heap that was there before. Sarah has been drinking and she stumbles around her
bedroom looking for a swizzle stick.

47
SARAH
Where is that damn thing?

She goes over to her unmade bed and searches through the blankets. She doesn’t find
it. She gets down on her hands and knees and looks on the floor. She still can’t find
it.
SARAH
I just had it.
Sarah looks at Nick’s pencil.
SARAH
Let me use that.
NICK
What?
SARAH
That.
She points at his pencil. Nick hands it to her and she stirs her drink. She leaves the
pencil in her drink.
SARAH
How was Gil?
NICK
Good.
Nick attempts to steer the conversation back to the reason for his visit.
NICK
About THE ARABIAN NIGHTS.
SARAH
Great picture. (Pause)
When he stood up after
the film, I was so proud of him…
for what he had accomplished.
But, at the same time, I felt
I had let him down.

Sarah takes a sip of her drink.

48
SARAH
When we formed KAYSILL
we were sure we would
make hit after hit. We always had.
(Pause)
We didn’t anticipate that
the end would come so soon for me.

INT. SARAH’S OFFICE DAY.
Desmond follows Sarah around the office. She’s collecting notebooks from the
bookshelves and tables.
SARAH
It makes no sense to continue.
DESMOND
You just haven’t found the right story.
SARAH
Even the right story wouldn’t
help. If I stop now, we won’t
lose any more money.
DESMOND
The money’s not important.
SARAH
Oh, Desmond, but it is.
What happens if, God forbid,
they stop coming to your
pictures.

Desmond is momentarily flabbergasted. He blinks his eyes.
DESMOND
That can’t happen. It’s impossible. Who
wouldn’t want to see one of my films?
Sarah starts to laugh.
SARAH
I thought so too, but it’s
happened. We can’t continue

49
SARAH (CONT.)
to throw away the profits from
your films to finance mine.

Desmond grabs hold of Sarah from behind and wraps his arms around her waist.
DESMOND
Darling, how could anyone not
want you? I do.
SARAH
That’s what matters.
Sarah turns around and faces him.
SARAH
Oh, Desmond, this is the right
thing to do. Trust me.

Desmond starts kissing Sarah. First on the neck, then on the cheeks and finally on the
mouth.
DESMOND
I trust every bit of you. He holds her tighter.
SARAH
We can’t do this now. Mother’s
coming over.
(pause)
If I’m going to produce your
next picture, I’d better know
what I’m doing.
DESMOND
Why don’t we let your mother
produce it? Then we can go
home and get into bed.

Desmond sticks his tongue in Sarah’s ear. She doesn’t mind, but his affection doesn’t
change her mind either.
SARAH
We did that yesterday.

50
Desmond moves in again.
DESMOND
I know but if we go home
I’ll promise to put on the
costume.

The costume idea intrigues Sarah and her face reveals that she’s actually considering
it. She’s on the verge of saying yes, when there is a knock at the door. The door
opens and Gertrude sticks her head in.
GERTRUDE
At the office too?

Sarah looks embarrassed.
DESMOND
Gertie, I just love your daughter too
much. I can’t get enough of her.
Gertrude waves her hand back and forth.
GERTRUDE
Shoo, shoo, shoo. Sarah and I have
business to attend to.
DESMOND
All right.
Desmond kisses Sarah on the forehead, then walks over to Gertrude and kisses her
on the cheek. He continues to the door and then turns around.
DESMOND
Remember what I said.
Desmond walks out and closes the door.
GERTRUDE
That man is such an animal.
I’m starting to understand why
you love him so much.
SARAH
Mother?!

51
GERTRUDE
Oh, Sarah, don’t be tiresome.
You’re very lucky.

Sarah looks down at the desk.
SARAH
I know. (to herself)
I thank God every night.

Gertrude walks over to the table piled with notebooks.
GERTRUDE
Now, let us get to work.
Sarah sits at her desk while Gertrude leans over her. Gertrude points out particular
items in the books.
EXT. MOVIE SET. DAY.
Desmond, dressed as a pirate, confers with Nieland Thomas. Sarah interacts with a
prop man. The prop man keeps placing an “inappropriate” lighting fixture on the
table and Sarah keeps removing it. They go back and forth. He puts it on. She takes it
off.
SARAH (V.O.)
I did learn. I produced Desmond’s next
two films: THE VOYAGE OF
SINBAD and BLACKBEARD.
INT. THEATER AUDITORIUM. DAY.
Desmond bows in front of an adoring crowd. When the applause begins to die down,
he does a back flip. Desmond smiles from ear to ear as the applause picks up again.
SARAH (V.O.)
They were Desmond’s biggest successes.
INT. DESMOND AND SARH’S DINNING ROOM. NIGHT.
Sarah, Desmond and their guests are seated for a formal dinner party. Sarah sits at
the head of the table and Desmond is at her right. Desmond tells a story (though we
can’t hear him) that has everyone present, including Sarah, laughing. His face is very
animated. Without looking at her, Desmond slowly moves his hand over and sets it
on top of hers. He slightly squeezes it. When he’s finished telling his story, he turns
and looks at Sarah. He doesn’t say anything.

52
INT. BEDROOM. NIGHT.
Desmond and Sarah are in bed. He lays on top of her. They kiss. She runs her hands
down his back.
INT. LIVING ROOM. DAY.
Sarah lounges on a chaise lounge. She reads a magazine while Gertrude arranges
flowers in a vase. The sun streams in through the windows. Everything is peaceful.
The only sound in the room comes from the ticking of a mantel clock.
EXT. LAKE. DAY.
Sarah and Desmond are in a canoe. Desmond paddles. The sun shines down on the
both of them and the water is perfectly calm. Sarah hums a song. They get to the
middle of the lake and then Desmond stops rowing. He sits and looks at Sarah. She
becomes self-conscious and stops humming. They sit in the canoe, in the middle of
the lake, staring at each other, until Desmond cautiously moves up to Sarah and very
lightly kisses her on the lips.
INT. CHURCH. DAY.
Sarah kneels in a pew as a service is conducted. She wears a long blue dress with a
white scarf over her head.
EXT. CHURCH. DAY.
Desmond sits behind the wheel in Sarah’s car. On the dashboard is a small bakelite
Madonna also in blue and white. Sarah exits the church and walks to the car. The
similarity between Sarah and the bakelite Madonna brings a smile to Desmond’s
face.
INT. LIVING ROOM. DAY.
Sarah sits reading the paper. With one hand behind his back, Desmond enters the
room. Sarah looks up inquisitively. Desmond brings out what he’s hiding. It’s a
black kitten. He holds it out for Sarah. She walks up to Desmond and clasps the
kitten in her hands. Holding the kitten up, she looks into its face. She hands the kitten
back to Desmond and rushes over to the chair that holds the newspaper. She grabs
the comic section and points to the FELIX THE CAT cartoon. Desmond looks at the
comic FELIX, looks at the name FELIX in the title box and then looks at the black
kitten. He nods his head yes. Sarah embraces Desmond as Felix looks around the
room at his new home.
EXT. LAWN. DAY.
Gertrude sits in a wicker chair on the lawn reading “THE LADIES HOME
COMPANION.” Desmond and Sarah play croquet. It’s Desmond’s time to hit the
ball but when he does it doesn’t go anywhere near where he wanted it to go. Sarah
turns away from him to take a sip of her lemonade which sits on a small wicker table

53
nearby. While her back is turned, Desmond kicks his ball closer to where he wanted
it to go. Sarah turns around just as the ball rolls to a stop. She knows he’s cheating.
She goes over to the ball and very lightheartedly kicks it back.
Desmond and Sarah walk over to the ball. Desmond points to where the ball was
before Sarah kicked it. She looks to where he’s pointing, and when she does,
Desmond grabs her and pulls her down onto the grass. They wrestle on the lawn
playfully. Gertrude looks up from her magazine and sees them cavorting. The
slightest trace of a smile appears o her lips and then she goes back to her magazine
as Desmond and Sarah continue to wrestle on the lawn.
INT. DINNING ROOM. DAY.
Desmond and Sarah sit across from each other at the dinning room table. A stack of
newspapers and magazines sit on the table next to Sarah and she’s in the process of
cutting an article out of one of the newspapers. In front of Desmond sits a scrap
book. He arranges three articles (all about himself) in different configurations.
Finally content with the placement he picks up a brush of glue and carefully swabs
the backs of the articles. He places them on the page and rubs down the edges with
his fingertips. The two work quietly together.
INT. LIVING ROOM. NIGHT.
It’s late. Sarah walks up to the door as Desmond walks in. Desmond looks tired and
speaks (but we can’t hear what he says.)
He has a notebook full of papers in his hand. Sarah takes it from him and sits it on
the foyer table. She takes his sport’s jacket off and drapes it over a chair. She leads
him by the hand over to the steps. She motions for him to sit down. Sarah takes off
his shoes and socks and then takes him by the hand.
She leads him upstairs to the bedroom. They enter the bedroom and she unbuttons
his shirt. With his shirt open, Sarah lightly kisses his chest. She raises her head up
and looks into his eyes. Desmond smiles. He walks to the bedroom door and closes
it. Quickly, the door reopens and Desmond puts Felix out. He closes the door. Felix
looks around the hallway and then proceeds to sharpen his claws on the carpet.
EXT. SIDEWALK. DAY.
Sarah and Gertrude walk down the sidewalk. There is a bounce in Sarah’s walk.
GERTRUDE
You seem very agreeable this morning.

Sarah nods her head.
GERTRUDE
How is Desmond?

54
SARAH
Wonderful.
Gertrude raises her eyebrows in a “knowing” fashion.
GERTRUDE
I see.
The two walk into a restaurant, and with the help of the maitre’d, they glide to a table
and sit down.
GERTRUDE
So, when do you start?
SARAH
On the 17
th
. Two weeks from tomorrow.
The waiter comes over and hands each woman a menu. Sarah speaks before he can
leave.
SARAH
I know what I would like. Would you
bring me a watercress sandwich and a
glass of iced tea.
Even though she’s just ordered, Sarah still scans the menu just in case she’s missed
something that might be more appetizing.
WAITER
And you Madame?

Gertrude starts to speak.
GERTRUDE
Why don’t you bring me…

She stops. Gertrude looks unsteady. He head tilts back and her eyes begin to close.
Sarah looks up from her menu…
SARAH
Mother?
GERTRUDE
Oh, I…

55
Gertrude touches her forehead. She brings her hand down and takes one long last
look at Sarah. Then slowly, as her life slips away, she slumps over in her chair.
SARAH
MOTHER!
The entire restaurant turns to view the scene. Sarah quickly moves to Gertrude’s side
and kneels beside her mother.
SARAH
What’s wrong? Oh, please tell
me what’s wrong. PLEASE.

Sarah looks up at the waiter. She doesn’t speak, but her eyes plead for help. Sarah
puts her arms around Gertrude’s lifeless body.
SARAH
Oh, please don’t…
Sarah continues to plead.
INT. HOSPITAL HALLWAY. DAY.
Sarah stands in the hallway as the doctor approaches her. He’s a handsome older
man with graying hair and a trace of sadness in his eyes.
DOCTOR
I’m sorry but…

Sarah searches his face for some sign of hope.
DOCTOR
It appears to have been an aneurysm.
SARAH
But she’ll be all right?
DOCTOR
No, I’m afraid she’s…

Sarah interrupts.
SARAH
No. Don’t.

56
DOCTOR
I have to tell you.
Sarah cuts him off.
SARAH
NO. If you don’t say it,
it won’t be so.

The doctor puts his hand on Sarah’s shoulder. She pulls away.
SARAH
She’s my mother. Do you
understand? She’s my mother.

The doctor continues to speak but now neither Sarah nor we can hear what he says.
Crying, Sarah turns away from the doctor.
INT. HOSPITAL HALLWAY. DAY.
Sarah walks down the corridor and slowly pushes open the door to Gertrude’s room.
INT. HOSPITAL ROOM. DAY.
Gertrude lies on the bed. A sheet covers her entire body, including her face. Sarah
walks over to the bed and stands beside it. Her eyes are swollen and red. With
trepidation, Sarah’s hand reaches out and pulls the sheet back. Gertrude looks very
peaceful. Sarah stands and looks at her mother. She doesn’t say anything. Slowly,
she bends over and kisses Gertrude on the forehead. As she rises back up, tears
cascade down her cheeks.
Sarh stares at Gertrude for a moment longer and then dutifully fixes the sheet so that
it drapes perfectly across Gertrude’s chest. Once finished, she takes one last look at
her mother and then turns around and walks away.
EXT. CEMETERY. DAY.
As the casket is lowered, Sarah turns and buries her face in Desmond’s chest. Gil
comes up and touches Sarah on the arm. Both Perlstein and Dumphree, with hats in
hands, extend their condolences. Desmond supports Sarah as he leads her to their
car.
INT. BEDROOM. NIGHT.
Sarah lies in her bed shaking her head no. Desmond approaches the bed. He has a
glass, half filled with water in one hand, and a bottle of whiskey in the other.
Desmond makes Sarah a drink and gives it to her. Sarah doesn’t want it and she
protests. Finally, she gives in. She drinks it.

57
INT. BEDROOM. MORNING.
Sarah is asleep. The whiskey bottle sits on the nightstand.
INT. DESMOND’S OFFICE. A WEEK LATER. DAY.
Desmond, Nieland Thomas, Jack Wolfe and Gilbert Moreno look over sketches for
Desmond’s latest picture. The sketches are of costumes that Desmond and Gil will
be wearing in the picture: HELL’S KITCHEN. The costumes depict what a “street
tough” or “hoodlum” would wear circa 1928. Gil points to one of the costumes and
says something. (We can’t hear what he says.) Nieland, Jack and Gil laugh.
Desmond manages to smile, but it’s a half-hearted smile then he leaves.
NIELAND
Is she going to be ready?
GIL
No se.
JACK
We all agree that we should go ahead?
NIELAND
I’m ready.
GIL
I’m not sure about the AMERICANO.
JACK
If we don’t start Thursday, we might lose Karen. She said
Metro offered her a part in the Barrymore picture.
NIELAND
That would put us way
behind schedule.
JACK
What do you think Gil?
Will Desmond proceed without her?

GIL
I’ll talk to him.

58
NIELAND
You know you can
produce Jack, if Sarah
can’t.
JACK
I’m planning on it.
INT. BEDROOM. NIGHT.
Sarah’s in bed. The lights are off. Desmond walks into the room and turns on the
lamp next to the bed. Sarah wakes up.
SARAH
What time is it?
Desmond looks at his watch.
DESMOND
11:17
SARAH
Mmmmm.
Desmond begins to disrobe.
DESMOND
I need to ask you something.
SARAH
What?
Desmond pauses.
DESMOND
Are you…
Desmond stops.
DESMOND
Well, do you…
He stops again.
DESMOND
Let’s just say, would it be all
right, if…

59
SARAH
What?
DESMOND
Would it be all right if Jack produced?

Sarah closes her eyes and relaxes on the bed.
SARAH
I was hoping he would.
Desmond turns and looks at her.
DESMOND
You wouldn’t mind?
Sarah opens her eyes.
SARAH
I’m not ready to work yet.
DESMOND
So, it’s okay?
SARAH
I want him to do it.
Desmond goes over to the bed and sits on it.
DESMOND
I’ve been so worried that
you wouldn’t be up to it
but would feel obligated.
SARAH
I’ll do the next one.
Desmond becomes his old self again.
DESMOND
Right! And every one after that.
Desmond bends over and kisses Sarah on the cheek.

60
DESMOND
Now, you go to sleep.
I’m going to run and make
myself a sandwich. Want
anything?

Sarah pulls the covers up over her face. Only her eyes and forehead peek out.
SARAH
A drink?
DESMOND
How about some milk instead?
SARAH
No. I need something to help me sleep.
DESMOND
You’ve been drinking too much.
SARAH
I’ll never get back to sleep if
I don’t…You woke me up.

Desmond shakes his finger at Sarah.
DESMOND
This one last time.
INT. SOUND STAGE. DAY.
HELL’S KITCHEN is going to be a musical about gangsters and prohibition. On this
particular day, he and Gil are rehearsing the big production number that will end the
film. In the film within the film, Desmond portrays Tony King, a lowly mob man
who eliminates his superiors and eventually goes on to run the syndicate.
Gil portrays Franki Gilbaldi, Tony’s friend and one of the guys who helps Tony do
all the eliminating. Basically, it’s WEST SIDE STORY with machine guns.
Dressed like street toughs, the two rehearse. This isn’t that far of a stretch for
Desmond. The majority of his past films have entailed some degree of physical or
acrobatic ability and he’s always been graceful on screen. It’s more difficult for Gil
who appears awkward. The two constantly have to restart their routine because Gil
continually makes mistakes.

61
EXT. YARD. DAY.
Sarah mixes herself a drink and then sits down on a wicker settee. She looks at a
picture of a baby in a magazine. Felix digs a hole in the dirt.
INT. SOUND STAGE. DAY.
Desmond and Gil continue to practice their big number. While Gil now has all the
steps down, he still appears awkward.
INT. LIVING ROOM. DAY.
Sarah stands next to a window and looks out. She has a drink in her hand. Felix plays
with one of her discarded shoes.
INT. SOUND STAGE. DAY.
Desmond and Gil rehearse their number. Desmond is as graceful as ever and Gil
seems to have gained some confidence. He’s still not at the same level as Desmond
but he’s gaining on him.
INT. BEDROOM. DAY.
Sarah lies on her bed, passed out. An empty liquor bottle is next to her. Felix jumps
around on the bed, getting more of a response from the empty bottle than from Sarah.
SIX MONTHS LATER

INT. STAIRCASE. LATE AFTERNOON.
Desmond rushes up the staircase.
DESMOND
Where are you?
INT. BEDROOM. LATE AFTERNOON.
He opens the bedroom door and walks into chaos. Clothes, good clothes, are tossed
everywhere. Sarah is obviously drunk as she rummages through her closet looking
for something to wear. Desmond stares at her and then storms over to the closet.
DESMOND
This has to stop.
SARAH
What?

Desmond grabs the drink that she holds and lifts it up to her face.

62
DESMOND
THIS!
SARAH
Is that my drink?

She looks around the room for her drink and then turns back to the drink in
Desmond’s hand.
DESMOND
OF COURSE IT’S YOUR DRINK.
He shoves the glass down onto the table and some of the liquor splashes out.
SARAH
It’s hard enough to get.
You don’t have to waste it.
DESMOND
What have you been doing all day?

Sarah waves her hand across the room.
SARAH
What do you think?
DESMOND
This isn’t going to work.
This simply isn’t going to work.

Desmond is definitely upset. He tries to control his anger but it becomes increasingly
difficult to do so.
DESMOND
I’ll go alone.
He slams the door as he leaves the room.
SARAH
Well, aren’t we Mr. High and Mighty.
INT. THEATER. NIGHT.
The production number that Desmond and Gil tried so hard to master is up on the
screen. Gil finally got it. He’s as graceful (and as virile) as Desmond. Desmond sits

63
in the audience watching himself but this is the first time that he doesn’t appear
happy.
INT. BATHROOM. NIGHT.
Sarah lounges in the bathtub. She’s still dinking. She hums to herself and plays with
her body as she washes herself. Felix sits on the toilet and gives himself a tongue
bath.
INT. THEATER. NIGHT.
People congratulate Desmond and Gil. They shake their hands and pat them on the
backs. Gil beams.
INT. BEDROOM. NIGHT.
Sarah lies on the bed. She’s dressed in her robe. Her hair is wet. She’s passed out.
INT. FOYER. NIGHT.
Desmond enters the Sills home followed by Gil, Jack Wolfe, Nieland Thomas and
Perlstein.
DESMOND
I’ll go get Sarah.
He rushes up the stairs and enters the bedroom.
INT. BEDROOM. NIGHT.
Desmond walks over to the bed and sees that Sarah is now passed out on the floor
beside it. Desmond looks upset. He checks to see if she’s breathing. She is. He picks
her up and lays her down on the bed. Then he sits on the edge of it. He doesn’t look
at Sarh. He sits there thinking for a moment and then gets up and exits the room.
INT. LIVING ROOM. NIGHT.
The room is filled with guests. Desmond’s standing on a coffee table posing, as if he
were running. Everyone’s eyes are fixed on him as Sarah walks into the room from
behind them. She holds a drink in her hand, Her hair is damp and she’s dressed only
in her bathrobe. While she has made an attempt to tie the robe the belt on it is loose
and as a result one of her breasts is slightly exposed. She starts to laugh.
SARAH
Oh, Desmond you’re so funny.
Everyone in the room turns around. There are a variety of reactions on the faces of
the guests. Everything from embarrassment to lust. Desmond looks shocked at first
and then concerned. He jumps off the table and hurries over to her. He pulls Sarah’s
robe closed and ties it tight.

64
DESMOND (in a whisper)
What are you doing?
SARAH
I’ve come to join the party.
DESMOND
Darling, let’s go back upstairs.

The guests begin to whisper.
SARAH
No. I want to have some fun.
DESMOND
Sarah, please.
Sarah pulls away from Desmond and starts to walk towards Gil. Desmond reaches
out and grabs Sarah by the arm but she brushes him off. As she makes her way
towards Gil, Felix runs between her legs and she falls. She’s on all fours, attempting
to get up, when Desmond rushes over to her. He scoops her up into his arms and
carries her upstairs.
CUT TO:
INT. SANITARIUM. DAY.
A matron violently pushes Sarah back down onto the bed. She straddles Sarah’s
midsection and holds Sarah’s arms. Sarah struggles. The matron is so large that she
cuts off Sarah’s air.
SARAH
GET OFF OF ME!
Sarah frees one of her arms and gets off one good punch. She connects with the
matrons face. The two stare at each other. Both amazed at what just happened.
MATRON
MARTIN!
Two male guards rush into the room. One of them sees what’s happening and
quickly exits. The other grabs Sarah’s feet and attempts to keep her from struggling.
SARAH
I can’t breathe. GET OFF ME.

65
The guard who exited quickly comes back into the room with a straight jacket. Sarah
struggles and then the matron slaps her in the face. Sarah screams as the matron and
the guards put the straight jacket on her.
TIME ELAPSE

INT. HALLWAY. DAY.
Desmond wears a topcoat over his suit and carries his hat in his hand. The matron,
who slapped Sarah, walks with him. She escorts Desmond to a small meeting room
and then leaves. Desmond looks around the room. It’s empty, except for two chairs.
He sits down. A guard brings Sarah into the room. She’s still entombed in the
straight jacket. Her hair is uncombed and she looks like she hasn’t slept in three
days. There are dark bags under her eyes. Desmond is shocked. He doesn’t know
what to do, so he walks over to Sarah and puts his arms around her. She rests her
head on his shoulder and slowly starts to cry.
EXT. SANITARIUM STEPS. DAY.
Desmond walks down the sanitarium’s steps. Gil stands next to the car smoking a
cigarette. He throws it away as Desmond approaches. Desmond reaches the car and
grabs the door handle. He stops. He looks down and tries to hold back his tears but
he fails and begins to cry. Gil puts his hand on Desmond’s back.
GIL
Hombre, everything will work out.
Desmond doesn’t respond. He uses both of his hands to wipe the tears off his face
and then the two men get into the car. As they drive away, Desmond looks out the
window.
INT. SANITARIUM. DAY.
Sarah lies on the bed in her room. She wears the straight jacket and stares at the
ceiling. There is no expression on her face. Light streams in through the barred
windows and a slight trace of dust floats in the stream of light.
INT. SANITARIUM. NIGHT.
Sarah lies on her side. She still wears the straight jacket.
INT. SANITARIUM. DAY.
Sarah, sans the straight jacket, sits on her bed and leans up against the wall. She
wears a hospital type gown.

66
INT. SANITARIUM. NIGHT.
Sarah lies on her bed. A blanket covers her. Light from the moon flows into the room
and across her bed.
INT. SANITARIUM. DAY.
Sarah sits on her bed. She hears a key unlock the door’s lock and then the door
opens. An orderly walks in. He holds two books out. One is a collection of
O’HENRY stories. The other is THE WORKS OF IBSEN. Sarah looks at the book’s
covers and then up at the orderly. The orderly’s face asks, “Which do you want?”
Sarah points to the works of IBSEN. The orderly hands it to her and then leaves.
Sarah opens the books. She scans the contents: HEDDA GABLER, GHOSTS, AN
ENEMY OF THE PEOPLE, A DOLL’S HOUSE, THE LEAGUE OF YOUTH. She
tries to decide.
THREE WEEKS LATER

INT. SANITARIUM OFFICE. DAY.
Desmond is sitting in the director’s office.
DIRECTOR
No alcohol. Ever.
The door to the director’s office opens. Sarh walks in. Her hair is combed and she’s
conservatively dressed but she still looks exhausted. Desmond rises from his chair
and walks over to her. They embrace.
SARAH
Oh, Desmond.
INT. BEDROOM. NIGHT.
Sarah lies on the bed and watches Desmond dress.
DESMOND
It’s not a flop but business
isn’t great.

Desmond pulls on his pants and buckles them.
DESMOND
Jack’s been having Karen, Gil
and me do some personal
appearances…to drum up business.

67
Desmond puts on his shirt and buttons it.
DESMOND
It was the only thing
that kept me going
while you were away.

Desmond sits down on the bed and puts on his shoes. He turns to Sarah.
DESMOND
You sure you don’t want to go?
Sarah shakes her head no.
SARAH
I’m feeling peevish.
She points to a stack of newspapers.
SARAH
I’ll read.
DESMOND
Okay. If you look close
you might find some photos
of me in there. I’ve been
saving the papers, so we
can cut them up.

He leans over and kisses Sarh on the forehead. Desmond then stands up and grabs
his wallet, tie and jacket.
DESMOND
I’ll probably be late.
He walks over to the door and looks back. He rushes back to the bed.
DESMOND
One more for the road.
He leans over the bed and kisses Sarah again. He climbs off the bed, quickly moves
to the door and then waves goodbye.
DESMOND
I’ll try to call.

68
SARAH
Bye.
Desmond smiles as he leaves the room.
TIME ELAPSE

Sarah lies on the bed and stares at the ceiling. The phone rings. Sarah gets up and
picks up the phone.
SARAH
Hello.
KAREN AKERS (V.O.)
Sarah?
SARAH
Yes. Who’s this?
KAREN AKERS (V.O.)
Karen Akers. When did you…
get sprung?
SARAH
This morning.
KAREN AKERS (V.O.)
That’s just marvelous.
(pause)
Dear, is Desmond there?
SARAH
He’s left.
KAREN AKERS (V.O.)
Oh, that’s terrible.
SARAH
Can I take a message?
KAREN AKERS (V.O.)
No, dear. I was just going
to tell him that we’re meeting

69
KAREN AKERS (V.O.)
at Weston’s for a drink first.
(pause)
Oh, I’m so sorry. How terribly
inconsiderate of me.

Sarah doesn’t respond one way or another.
KAREN AKERS (V.O.)
Look lovey, I’m in a hurry.
I’ll call the theater and have
them send him over. Toodles.

Karen hangs up. Sarah puts the receiver down and stands there annoyed. She walks
over to the stack of newspapers and picks one up. Sarah leafs through it, not really
interested in any of it. She scans the entertainment section and her eyes jar to a stop.
Peering out at her from the newspaper is a photograph of Desmond and Karen Akers.
They have their arms locked around each other’s waist and they’re smiling. She
stares at the photograph.
TIME ELAPSE.

Sarah stands in front of her closet. Its doors are open and she’s pulling clothes off
their hangers. She throws them on the bed. She bends over and starts grabbing shoes.
She vigorously throws them over her shoulders. She stands up and starts kicking the
shoes that didn’t sail far enough away. Felix sits on the chair watching her. Sarah
addresses Felix.
SARAH
I’ll kill her.
Sarah puts her hands on her hips.
SARAH
I’ll just kill her.
INT. BATHROOM. NIGHT.
Sarah brushes her teeth. She uses her hand to scoop water up to her mouth. She looks
at her face in the mirror and then diverts her eyes – first to her hands and then to a
hand towel. She lifts up a glass nearby and rinses it out. She dries the glass with the
hand towel and then sets it down on the sink. She exits the bathroom, stumbling
slightly.

70
INT. BEDROOM. NIGHT.
She picks up a half-empty bottle of gin. She takes it to the closet and hides it in a
hatbox on one of the upper shelves. She returns to her bed. Gets in and closes her
eyes.

INT. BEDROOM. MORNING.

Sarah lies on the bed awake. She’s reading the paper. Desmond holds the glass in his
hand.

DESMOND
Sarah?

Sarah turns and sees him holding the glass.

SARAH
Listerine.

Sarah goes back to reading the paper or more precisely – pretending to read the
paper. Desmond stands there for a second and then turns around and heads back to
the bathroom.

INT. BATHROOM. NIGHT.

Sarah brushes her teeth. She dries off her hands and then rinses out the glass. Again
she dries the glass with the hand towel.

INT. BATHROOM. MORNING.

Desmond stands in front of the mirror sniffing the glass. He looks towards the
bedroom.

INT. BATHROOM. NIGHT.

Sarah drunkenly brushes her teeth. Tooth paste and water run down her chin. She
turns off the water and then haphazardly wipes off her face and hands with the hand
towel. She attempts to put the towel back on the rack but it falls on the floor.
INT. BEDROOM. MORNING.
Sarah lies in bed reading the paper. Desmond stands in the bedroom’s doorway with
the unwashed glass in his hand.

71
DESMOND
It isn’t Listerine.
Sarah doesn’t look at Desmond. She continues to stare at the newspaper. She doesn’t
respond.
INT. BATHROOM. NIGHT.
Sarah wipes off her mouth with the towel. She grabs the glass, but it slips from her
hand and crashes to the floor. Barefooted, Sarah attempts to pick up all the glass she
sees. She stumbles over to the wastepaper basket and throws it in. She doesn’t notice
that she’s cut her foot. She walks out of the bathroom, leaving a trail of blood from
the bathroom to the bed.
INT. BATHROOM. NIGHT.
Desmond, dressed in evening clothes, looks at the blood on the floor. He follows the
trail of blood to the foot of the bed. He pulls the blankets back and inspects Sarah’s
body. Desmond sees a slight cut, covered with dried blood, on her right foot. He sits
down on the edge of the bed and thinks.
INT. BEDROOM. NIGHT.
Sarah lies in bed reading a magazine. Desmond is casually taking off his shoes.
SARAH (Not looking up)
Better hurry.
DESMOND
I’m not going.
Sarah looks up.
DESMOND
I don’t think anymore publicity
can help.

Desmond moves to the bed and sits down on it. He puts his hand on Sarah’s leg. She
looks down at his clutching hand.
DESMOND
I’d rather stay home with you.
Sarah doesn’t look at him. She stares at his clutching hand.
SARAH
How perfectly splendid.

72
She goes back to reading her magazine.
TIME ELAPSE

Sarah and Desmond are in bed together. The room is dark. Sarah lies awake listening
to Desmond breathe. Very quietly, she gets out of bed and tiptoes over to the closet.
She opens the doors and reaches for the hatbox. She carries the hatbox into the
bathroom and closes the door. She turns on the light, pulls out a bottle of liquor and
uses tap water to make herself a drink.
TIME ELAPSE

Sarah turns off the light and carries the hatbox back into the bedroom.
INT. BEDROOM. NIGHT.
Desmond lies on his side. Sarah goes to the closet and puts the hatbox away. She
then gingerly gets back into bed.
DESMOND (Without looking at her)
It’s a very peculiar time to be trying on hats.

Sarah doesn’t respond. She lies on her back for a second and then turns on her side
away from Desmond.
INT. BATHROOM. LATE AFTERNOON.
Felix is in the bathtub drinking the water that drips form the faucet. Sarah sits on the
floor drinking.
SARAH (To Felix)
That tramp’s wrong if she thinks…

Sarah takes a drink.
SARAH
Tootles to you, honey.
Felix turns and looks at Sarah.
SARAH
I’ll slap that tramp. I will.
Felix goes back to drinking.

73
SARAH
I know people in this town.
INT. STAIRCASE/HALLWAY. NIGHT.
Desmond climbs the steps. He walks down the hallway and past the bathroom. He
glances down at the light coming out from underneath the door and proceeds to the
bedroom.
INT. BEDROOM. NIGHT.
He takes off his clothes and gets into bed. He lies there with his eyes open.
INT. BEDROOM. MORNING.
Desmond dresses.
INT. HALLWAY. MORNING.
Desmond walks past the bathroom. The light still emanates from underneath the
bathroom door.
INT. BATHROOM. MORNING.
Sarah lies on the floor asleep. An empty glass is nearby. Felix uses his tongue to give
himself a bath.
INT. HALLWAY OUTSIDE OF THE BATHROOM. NIGHT.
Desmond knocks on the bathroom door.
DESMOND
Sarah.
There is no response.
DESMOND
Sarah.
He waits.
DESMOND
Sarah, open the door.
He waits.
DESMOND
I need to talk to you.
He stands in front of the door waiting. Slowly the lock clicks and the door opens.
Sarah looks terrible. Felix rushes out. Desmond motions for Sarah to come out.

74
Unsteadily, Sarah walks into the hallway. Desmond puts his hands on her shoulders
and points her towards the bedroom.
INT. BEDROOM. NIGHT.
Sarah sits down on the bed. Desmond pulls up a chair and sits. He looks at her face
but she doesn’t look at him. She looks at the floor.
DESMOND
It won’t be advantageous for
us to continue like this.

Sarah doesn’t say anything.
DESMOND
I won’t take you back to the
sanitarium.
(pause)
You don’t want to go, do you?

Sarah shakes her head no.
DESMOND
I didn’t think so.
Desmond leans forward and tries to look into her face.
DESMOND
Is there anything I can do?
Sarah doesn’t respond. Desmond waits for an answer but none comes.
DESMOND
Sarah, don’t you realize that
I love you? You must. You must
always remember that.

He stares at her bowed head.
DESMOND
I think back to how our lives
used to be and I get angry and
sad because I don’t understand
what you’re doing and I don’t
understand why you’re doing it.

75
No response comes from Sarah.
DESMOND
No matter what happens—I will always
love you. Yet, I find myself wanting to
leave you because I feel as if you’re
already gone.
Desmond reaches out and takes Sarah’s hand. He leans in close. Sarah doesn’t say
anything.
DESMOND
I don’t know what else to say
except that you have to stop.
It’s that simple.

Sarah doesn’t move.
DESMOND
Will you stop?

Sarah looks up at Desmond. Her eyes are watery. She doesn’t respond.
EXT. MAIN STREET - DOWNTOWN LA. NIGHT.
A neon sign blinks its message: SWING & SWAY AT THE HIP HOP CAFÉ.
INT. HIP HOP CAFÉ. NIGHT.
The Hip Hop Café is a “front” for the speakeasy behind it. The speakeasy is a dump.
The club features jazz music and sitting at the bar, with bags under her eyes,
uncombed hair and in a wrinkled dress, is Sarah. She’s drunk.
A dirty alcoholic woman makes her way up to the bar and sits next to Sarah. Sarah
ignores her.
WOMAN (To the bartender)
Give me a beer.
The bartender obliges.
WOMAN
A beer a day that’s what I say.
Sarah ignores the woman.
WOMAN
Spend my money while I’m alive.

76
Sarah ignores her. The woman taps Sarah on the arm. Sarah turns and looks at her.
WOMAN
I says to my friend Myrtle, I says don’t
waste no money burying me. Just shove
a ham bone up my ass and let the dogs
drag me away. Hell, they’ll bury me.
The woman cackles with laughter and slaps Sarah on the arm. Sarah
condescendingly looks at the woman.
SARAH
That’s disgusting.
The woman pulls her body back and looks Sarah “up and down.”
Sarah glares at the woman, but then her expression begins to fade. It appears as if
she’s going to dismiss the woman but then she casually throws her drink in the
woman’s face. The woman lunges at Sarah and knocks her to the ground.
WOMAN
BITCH!
The two continue to hit each other.
BARTENDER
TAKE IT OUTSIDE, LADIES!
EXT. HIP HOP CAFÉ. NIGHT.
Sarah and the woman come flying out the front door. They land on the sidewalk and
continue to assault each other. As they fight a police car pulls up. The officers get
out of the car and walk up to the two women.
INT. POLICE STATION. NIGHT.
Sarah sits on a bench. Her sparring partner sits next to her.
POLICE OFFICER
We need your shoe laces and your belts…if you’re
wearing one.
Both women begin to untie their shoes. The police officer points to Sarah.
POLICE OFFICER
What’s your name.
Sarah looks up.

77
SARAH
Sarah McKay.
The officer stares at Sarah.
POLICE OFFICER
The picture star?
SARAH
Yes.
POLICE OFFICER
Can you prove it?
Sarah nods.
CUT TO:

Sarah stands in front of a camera in profile. A flashbulb flashes. She turns and faces
the camera. There’s another flash.
CUT TO:
INT. SILLS HOUSEHOLD. MORNING.
A newspaper headline blares in bold caps: SARAH ARRESTED. Two mug shots
accompany the article. Desmond sits reading the newspaper account.
EXT. DOOR STEPS—SILLS HOME. MORNING.
Desmond stands on the front steps of the Sills home. He’s surrounded by reporters
who continually snap photographs.
REPORTER 1
We’ve heard that this isn’t
the first time Sarah’s been
arrested for creating a
disturbance. Is that true?
DESMOND
I don’t know where you heard
that, or who told you, but it’s
preposterous. This is the first
and only incident.

78
REPORTER 2
Is Miss McKay seeking help in
connection with her alcohol problem?
DESMOND
Sarah checked into a sanitarium
this morning.
REPORTER 3
Can you divulge its name?
DESMOND
I’d prefer not to.
REPORTER 2
We’ve been told it’s Good
Samaritan. Is that correct?
DESMOND
I have no comment on that.
REPORTER 4
Is there any connection between
this and the recent rumors
concerning your marital difficulties?
DESMOND
I will not comment on rumors.
REPORTER 5
Do you know if the D.A. is going to prosecute…
Desmond looks alarmed.
REPORTER 5
…Miss McKay for violating the 18
th
amendment?
DESMOND
I suspect that he will treat
her no differently than any
other American citizen.

Desmond pauses and then states,

79
DESMOND
Gentlemen, I assure you, Sarah is
seeking the help she needs and will
overcome this problem. Now, I really
must go.
Desmond waves and smiles from ear to ear before he enters the house.
CUT TO:
INT. BEDROOM. MORNING.
Sarah lies on the bed passed out. Felix lies next to her sleeping peacefully.
TIME ELAPSE

INT. BEDROOM. NIGHT.
Desmond packs a suitcase that he’s placed on the edge on the bed. As he packs,
Sarah wakes up.
SARAH
What are you doing?
DESMOND (Nonchalantly)
I’m going away.
Sarah tries to comprehend what he’s saying.
SARAH
Away?
DESMOND
To New York.
SARAH
But, why?
DESMOND
You need time to think.
SARAH
About?

Desmond throws a shirt into the suitcase. He stands erect and looks at Sarah with
annoyance. Sarah pulls herself up on the bed. She leans against the headboard.

80
DESMOND
I simply will not stay and watch you
make a spectacle of yourself.
Desmond walks to the dresser and takes out some undershirts.
DESMOND (To himself)
You don’t want to go back
to the sanitarium, so…

Sarah thinks about her options.
SARAH
I will.
Desmond doesn’t respond.
SARAH
I’ll go back.
DESMOND
The number’s in the book.
Sarah climbs off the bed and goes over to him.
SARAH
Oh, Desmond, please. You can’t
leave me. You can’t go.

Sarah pauses and looks into Desmond’s eyes.
SARAH
I’m begging you. You can’t leave me.
Desmond looks at her for a long time and then goes back to his packing. He finishes
and starts to leave. Sarah stands in the room watching as he walks away.
SARAH
You can’t leave me.
Desmond continues to walk away.
SARAH
Don’t leave me.

81
Sarah stands in the bedroom alone. She listens to Desmond’s footsteps as he
proceeds down the stairs and out the front door.
INT. NIGHTCLUB. NIGHT.
Desmond and Karen Akers sit at a table. A jazz band plays in the background.
KAREN
Dearest, you owe it to her.
DESMOND
I simply can’t be around her
when she drinks.

KAREN
You should be with her.
DESMOND
Doesn’t she realize how degrading this is?
Not only for her but for me?
KAREN
Dearest, I’m going to say
something and I’m going to say
it in the kindest way I know how.
(pause)
This isn’t about you.
It’s about her…and
whether or not you love her.

A photographer walks up.
PHOTOGRAPHER
Mr. Sills can I get a quick
picture for the papers?

Desmond nods his head yes. The photographer snaps a photo but he doesn’t get just
a photo of Desmond. He gets a photo of Desmond and Karen.
CUT TO:

INT. COURTHOUSE HALLWAY. DAY.
Sarah stands in the hallway holding a newspaper. She stares at the photo of Desmond
and Karen. Her lawyer walks up.

82
LAWYER
It’s time.
Sarah looks up at her lawyer and then down at the photograph. As the two make their
way to the courtroom, Sarah drops the paper on the floor.
EXT. COURTHOUSE STEPS. DAY.
Sarah and her lawyer walk down the courthouse steps. A mob of reporters swarm
around them.
REPORTER 1
Miss McKay, do you think
the judge was lenient because
of who you are?
LAWYER
The sentence was just for
a first offense.
REPORTER 3
Why isn’t Mr. Sills with you today?
LAWYER
Mr. Sills is in New York attending to business.
REPORTER 3
Is it true that Mr. Sills and you
are getting a divorce?

Sarah is shaken.
REPORTER 4
Is Mr. Sills involved with
Karen Akers?
LAWYER
Let’s have none of that.
Sarah gently places her hand on her lawyers chest.
SARAH
My husband and Miss Akers
are business acquaintances.
(pause)

83
SARAH (CONT.)
And as for our marriage…

Sarah stops. She doesn’t know if she’ll be able to finish her sentence. She hesitates.
SARAH
And as for our marriage it’s
never been stronger.

Sarah listens to her own words echo off the courthouse walls.
LAWYER
Miss McKay has had a very
difficult day. Gentlemen, please.

Sarah’s lawyer leads her down the steps and to a waiting car.
INT. SILLS HOME. DAY.
Sarah stands crying in the middle of the living room. She has a drink in her hand.
Gil’s there.
SARAH
How could he do this?
She takes a sip of her drink.
SARAH
Doesn’t he realize how it looks?
(pause)
To be subjected to those
questions.

Gil, stands behind her, he tries to console her.
GIL
He loves you. Yo lo
conozco. He’s told me so.

Sarah turns and looks at Gil.
SARAH
Yes, but when did he
tell you that?

84
Gil doesn’t respond.
INT. FOYER. NIGHT.
Desmond walks in the door. He carries a suitcase. The house is still and quiet. There
is no trace of either Sarah or Felix.
DESMOND (Calling out)
Sarah.
There is no answer. Desmond climbs the steps to the second floor. He walks to the
bedroom.
INT. BEDROOM. NIGHT
Sarah is passed out on the bed. Felix, who is beside her sleeping, wakes up when
Desmond enters the room. He jumps over Sarah and scurries over to Desmond to
greet him. Desmond picks up Felix and pets him. As he pets Felix, he looks at Sarah.
INT. LIVING ROOM. DAY.
Desmond is sitting on the sofa reading the paper when the door bell rings. He starts
to get up but stops when he hears Sarah hurrying to the door.
INT. FOYER. DAY.
A “delivery boy” is dropping off something Sarah has ordered. It’s two bottles of
liquor haphazardly hidden in paper bags. As Sarah pays the boy, Desmond walks
over to the foyer. He watches the exchange unbeknownst to Sarah. When she’s
finished her transaction Sarah closes the door and turns around. She’s somewhat
startled to find Desmond standing there and the two stare at each other for a moment.
With nothing to say, Sarah quickly walks past Desmond and rushes upstairs.
Desmond watches her flee.
SIX MONTHS LATER

INT. BEDROOM. DAY.
Desmond is packing. Sarah walks into the bedroom with a drink in her hand. She’s
still relatively sober.
SARAH
Another trip?
DESMOND
Yes.
Sarah lies down on the bed, her head is propped up against the headboard.

85
SARAH
Where to this time?
DESMOND
New York.
SARAH
With who?
DESMOND
No one.
SARAH
Is this no one Karen Akers?

Desmond doesn’t respond.
SARAH
I ASKED ARE YOU GOING WITH
KAREN AKERS?
DESMOND
Not that you’ll remember but I’m not going with Karen.

Sarah swishes her drink around.
SARAH (Under her breath)
There are places I could go too.
Desmond doesn’t respond. He continues to pack his suitcase.
SARAH
You know, many men still
find me quite attractive.

Desmond looks up at her.
DESMOND
I’m sure you’ll do whatever you want.
SARAH
Yes, I will.

86
DESMOND (Annoyed)
Yes, I’m sure you will.
Sarah brushes him off with her hand.
SARAH
GO.
Desmond locks his suitcase, picks it up off the bed and starts to leave.
SARAH
I’m really tired of this.
Desmond turns around.
DESMOND
You’re tired?
SARAH
Yes, I am. If you were any
kind of a husband you’d
stay home once in awhile.
DESMOND
Why? To order more liquor?
Sarah turns her head away from him.
SARAH
Leave.
Desmond ignores her command.
DESMOND
And YOU KNOW, if you
weren’t a drunk, I wouldn’t
be embarrassed to call you
my wife.

Sarah turns and glares at him.
SARAH
Go. Get out then.
Desmond turns around to leave. With his back to her he says,

87
DESMOND
If you need anything, I’ll be at the Algonquin.
SARAH
I don’t need anything.
Desmond doesn’t turn around.
DESMOND (Hesitantly)
What you need is to find your
self-respect again.
(Pause)
You seem to have misplaced it.

Desmond walks out of the bedroom and starts to descend the stairs. Sarah climbs off
the bed and pursues him. She stumbles as she walks.
SARAH
I DON’T NEED ANYTHING.
Desmond ignores her. He continues to walk down the steps. Sarah rushes to the
staircase landing.
SARAH
DID YOU HEAR ME?
When Desmond gets to the bottom of the stairs, Sarah rushes up to him. She strikes
him on the back, repeatedly until Desmond angrily swirls around. Sarah screams in
his face.
SARAH
DID YOU HEAR ME?
Desmond starts to say something then shakes his head and turns around to leave.
Sarah lunges at him. She pounds on his back and then hits him on the side of the
head with her fist. Desmond pushes Sarah. She loses her balance and falls. Her eyes
fill with anger as she jumps back up and starts hitting Desmond in the face. Desmond
grabs her hands and pushes her away.
DESMOND
DAMN IT. HOW MUCH OF THIS
DO I HAVE TO PUT UP WITH?

88
SARAH
HOW MUCH DO YOU HAVE TO
PUT UP WITH?
DESMOND
Jesus, Sarah, Just make yourself a
drink and GET OFF MY BACK.
SARAH
Make it for me. You’re good at that.

Desmond is taken aback. He pauses before he speaks.
DESMOND
Sarah, I’m not responsible…
Sarah cuts him off.
SARAH
YOU ARE TOO! YOU TURNED ME INTO THIS!
Desmond doesn’t know what to say. He looks at Sarah and sees all of the anger and
contempt that she has for him plainly visible in her face. His eyes well up with tears
for he realizes, at this moment, that his marriage to Sarah is over. Sarah sees his
anguish and instantly wants to take everything she’s said back, but all the resentment
that she has stored up inside of herself prevents her from saying anything. Now, with
all of the civility in their marriage gone, Desmond has no choice. He picks up his
suitcase and walks out the door. Sarah stands in the foyer—alone—with her tattered
pride as her only consolation.
SARAH (In a whisper)
Oh, Desmond.
INT. LAVISH BEVERLY HILLS HOME. DAY.

Nick is interviewing the Countess Evelyn Marksburry. She’s a slender, attractive
woman of 40 who’s tastefully dressed. Her jewelry is minimal but expensive. Her
make-up is slight. Her hair is raven black and shoulder length. She sits on an over-
stuffed, chitz covered sofa, but there is still an air of formality about her. Her legs are
slender and well proportioned and they’re delicately crossed at the ankles.

A tea setting is spread out on the coffee table. The tea cups are small, which leads to some
difficulty for Nick. He can’t get his finger through the small handle opening. After a great
deal of awkwardness on his part, he holds on the cup as if it were a glass.

89

EVELYN
It’s a jasmine tea. I hope you find it to your liking.

Nick slurps some.
NICK
It’s good.

He puts the cup down.

NICK
Once again, I want to thank you for finally agreeing
to talk to me.

EVELYN
My initial hesitation stemmed from a fear of being
quoted but since you’ve given me your word as a
gentleman…

Nick nods his head.

NICK
Yes, of course.

Nick looks through his notes.

NICK
You married Mr. Sills less than two months ago?

EVELYN
On May 16
th
.

NICK
Can you tell me where you met him?

EVELYN
Certainly. On the Normandie.

NICK
You knew it was him when you met?

EVELYN
We believed it to be him.

90
NICK
We?

EVELYN
I was traveling with Lady Constance Harrington.
We were sailing to New York to get a preliminary
view of the spring fashions. And to take in
some shows.

NICK
This was in ’30?

EVELYN
Yes, in October.

NICK
Did Mr. Sills give you any indication of the
difficulties he was having?

EVELYN
Not initially…

Evelyn stops. She appears hesitant about going on.

NICK
But?

EVELYN (Reluctantly)
…but in time he did.

EXT. OCEAN LINER PROMENADE DECK. AFTERNOON.

Evelyn and Lady Harrington walk on the promenade deck. A cool, bordering on cold,
breeze rushes over them. Both women pull their jackets close to their bodies and briskly
walk towards a door marked, “Polynesian Room.”

INT. POLYNESIAN ROOM. DAY.

A maitre’d escorts the women to a table. Desmond is sitting at the bar drinking a tropical
drink. He notices the two of them and follows them with his eyes. With the exception of
the “help” no one else is in the room. Lady Harrington observes Desmond’s gaze, but
doesn’t acknowledge it. She engages Evelyn in conversation. (Though we can’t hear
what they say.)

91
Desmond lightly taps his palms on the top of the bar as if it were a bongo drum. He looks
at the women again but they ignore him. Bored, Desmond gets up to leave. As he walks
out, both women nonchalantly watch him exit.

LADY HARRINGTON
It is.

EVELYN
I was unable to see him clearly yet he looked
amazingly hansome whomever he was.

LADY HARRINGTON
He did, didn’t he?

EVELYN
I wonder if he’s alone?

LADY HARRINGTON
We shall make it our business to find out.

EXT. DECK. MORNING.

It’s cool. Desmond is dressed in athletic clothes and he’s arranged six vaulting horses in
a line so that he can hurdle over them. A few young men stand near the guard rails and
watch as Desmond takes a running start and jumps the hurdles with a great deal of grace
for a man of 49. He glides over the horses a number of times and then rearranges them
into two groups three. Desmond turns to one of the young men standing next to the rail.

DESMOND
How about it sport?

The young man accepts the challenge and races Desmond. Desmond, of course, wins.
He continues to race the young men, but they soon tire of the competition and leave.

Desmond lines the horses up, end to end, and is walking, on his hands, across the horses
when Evelyn and Constance walk up. He starts to tire by the fifth horse but he doesn’t
surrender to his strain. He masks his discomfort and makes it across the sixth horse
then dismounts.

His hair is tousled and his face is red. The three look at each other not saying a word
and then Constance starts to applaud.

92
DESMOND
Hello.

EVELYN & CONSTANCE
Hello.

CONSTANCE
That looked incredibly strenuous.

DESMOND
Not at all.

CONSTANCE
You must be quite fit.

DESMOND
I could do it for hours.

CONSTANCE (Flirting)
Could you?

Desmond walks up to the two.

DESMOND
May I introduce myself?

He extends his hand.

DESMOND
I’m Desmond Sills.

Constance takes his hand.

CONSTANCE
Lady Constance Harrington.

DESMOND
Very nice to meet you.

Desmond turns to Evelyn. He extends his hand which Evelyn grasps.

EVELYN
Evelyn Marksburry.

93
CONSTANCE (Interjecting)
Countess Evelyn Marksburry.

Desmond raises his eyebrows.

DESMOND (Smiling)
What do you count?

Evelyn and Constance look confused.

DESMOND
I’m sorry. I’ve never been very good
at witticisms.

The three look at each other, in an awkward fashion, until Desmond thinks of a way
of prolonging their discomfort.

DESMOND
Would you ladies like to join me for some coffee?
I’ve gotten a wee bit of a chill out here.

Constance looks at Evelyn and then turns back to Desmond.

CONSTANCE
Getting you warm would make us both happy.

As the liner plows through the ocean, the three of them make their way to one of the
ship’s cafes.

INT. SHIP’S BALLROOM. NIGHT.

Evelyn, Constance and Desmond sit at a table. Desmond wears a tuxedo and the
women wear gowns. Desmond plays with a book of matches. He opens and closes
it absentmindedly. The dance floor is filled with couples.

Constance has had too much to drink. She touches Desmond’s chest throughout
her conversation with him.

CONSTANCE
I knew who you were the second I set my eyes on you.

Desmond attempts to ignore her.

94
CONSTANCE
You do have a …

Constance licks her lips.

CONSTANCE
…, I mean, an attractiveness about you…

She leans in closer.

CONSTANCE
…that isn’t quite captured on the picture screen.

She touches his hair and then runs her fingers through it.

CONSTANCE
Do you mind if I do this?

Desmond takes the matchbook he’s been playing with and throws it into the ashtray.

EVELYN
Connie, please.

Constance ignores her plea.

CONSTANCE
No, I’m sure you don’t.

Desmond turns to Evelyn for help.

EVELYN
Connie, it’s getting late. We should retire.

CONSTANCE
Yes, I’d like to do that.

She nuzzles her lips up to Desmond’s ear.

CONSTANCE (Whispering)
Would you like to retire?

Desmond finds her behavior distasteful.

95
DESMOND
What I would like – is to be left alone.

Constance picks up her drink and throws it into Desmond’s face.

EVELYN
CONSTANCE.

As Desmond wipes the liquor off his face, Constance runs one of her fingers around
the rim of the glass. She then licks the liquor off her finger as she glares at Desmond.
Desmond quickly gets up and walks out of the ballroom.

EXT. DECK. NIGHT.

Desmond stands next to the railing and dabs his tuxedo with his handkerchief. He
stands by himself until Evelyn walks up from behind. Desmond hears her and turns
around. Her presence upsets him and the expression on his face reveals just how deep
his displeasure is.

EVELYN
I’ve come to apologize and then I’ll leave.

Desmond turns away from her.

DESMOND
Doesn’t she realize I’m still married?

Evelyn appears confused.

EVELYN
The newspapers gave us, me, the impression that…

Desmond turns around.

DESMOND
Sarah, filed for divorce.

EVELYN
I see.

Desmond is silent for a moment.

DESMOND
It’s not final.

96

EVELYN
I see.

Evelyn stares at Desmond.

EVELYN
Are you stating that you did not desire this course
of action?

Desmond stands quietly for a moment.

DESMOND
No. I’m not stating that.

INT. BEDROOM. NIGHT.

Sarah lies on the bed with a drink. Felix is beside her sleeping. A radio has been
wheeled into the bedroom and Sarah listens to a gossip program.

LOUELLA (V.O.)
This is Louella Parsons with The Hearst
Hollywood Beat.

Dateline – Hollywood.

Dark and handsome Warner
Baxter, who recently
won an Academy Award
for his stirring
IN OLD ARIZONA
performance, has just
been cast as Durango
in the forthcoming
Paramount Picture
THE AMIGOS.

Marion Davies, who deserved
an Academy Award nomination
for her sterling performance
in King Vidor’s SHOW PEOPLE,
had a barbecue at her Santa Monica
beach house over the weekend.
Gloria Swanson, Richard Dix,

97
LOUELLA (V.O. CONT.)
Pola Negri, Clara Bow
and Charlie Chaplin were
just a few of the stars
who roasted wieners with Marion.

A crisis almost occurred when
the hostess ran out of ketchup,
but beautiful Gloria and
madcap Charlie saved the
day when they raced to the
local grocers for more of the
red stuff.

In New York, my sources tell
me that Desmond Sills
was seen escorting a beautiful
starlet to the New York premiere
of THE WAGON TRAIN.

A word to all those young
girls – you’ll never fill
sweet Sarah’s shoes.
There is only one
Sarah McKay and when
that rogue of a husband
of hers comes back to
his senses, he’ll
head home.

I know I speak for all
of my listeners when I say
that I hope this royal
Hollywood couple works
out their differences
and resumes their place
as filmdom’s number one
couple.

After this brief message from
our sponsor, I’ll be back to
tell you about bad girl
Louise Brooks…
and what she was up to last night.

98
Sarah rises from her bed and walks over to the radio. She turns it off and listens to
the tubes as the electricity drains from them.

INT. CAR. DAY.

Desmond and Gil sit in the back of a limo.

GIL
She would, pero ella es una
mujer. She’s…

Gil shakes his head. He crunches up his shoulders.

GIL
Everybody’s talking.

DESMOND
I’m not.

GIL
Si, pero todos los otros hablamos mucho.

DESMOND
If everyone would just mind
there own business.

Desmond appears exasperated.

DESMOND
None of it’s true anyway.

Desmond looks out the window. He doesn’t say anything for a minute.

DESMOND (Still looking out the window.)
Well, maybe some of it is.

INT. DESMOND’S OFFICE. DAY.

Desmond’s eyes are lifeless as he stares at a newspaper. The headline reads –
“SARAH FILES FOR DIVORCE.”

INT. COURTROOM HALLWAY. DAY.

Desmond leans up against a wall. Sarah sits on a bench across from him. She doesn’t

99
look at him.

DESMOND
Is this what you really want?

Sarah looks up. After a long pause, she speaks.

SARAH (Unsure.)
Yes.

Desmond hears the uncertainty in her voice but he doesn’t act on it. He stands looking
at her for a moment and then says.

DESMOND
Okay.

EXT. COURTHOUSE. DAY.

The two walk out of the courthouse together. Desmond stops to button up his coat
but Sarah continues on. She descends down the steps quickly and almost makes it to
her waiting car.

DESMOND
Sarah!

Desmond rushes down the steps and catches up to her. She turns and looks at him.
He looks directly into her moist eyes.

DESMOND
I do love you.

Sarah covers her face with her hands.

SARAH
Oh, Desmond.

The camera pulls away as they embrace.

INT. LADY EVELYN’S HOME. DAY.

EVELYN
We were married one year later.

100
She looks at her tea service. She wants to say something but appears to be unsure
about expressing herself. She finally does.

EVELYN
In retrospect. (Pause)
I don’t know if Desmond actually
loved me.

Nick thinks about this statement.

NICK
Did you love him?

Evelyn stares at Nick for a second and then picks up her tea cup and drinks from it.
She holds the cup in her hand.

EVELYN
I was attracted to him.
(Pause)
Being the wife of a man of his
stature had a great deal of
cache attached to it.
It was obvious to me that he was
going to marry someone.
He needed a mate and I needed
an escort. It was convenient.

EXT. SWIMMING POOL AT THE MARKSBURRY ESTATE. DAY.

Desmond is in swimming runks. His body is still trim and muscular. He’s about to
climb up the diving board when Evelyn walks out onto the patio. She’s dressed for
lunch and carries a purse. Desmond walks over to her.

EVELYN
I shall return around four.

Desmond nods his head. Evelyn looks at his skin.

EVELYN
You’re getting quite dark. Put on some lotion.

Desmond looks at his arms and chest.

101
DESMOND
Maybe.

Evelyn waves goodbye as Desmond examines his legs. He lifts up one and then the
other. When he finally looks up, he sees that Evelyn’s gone.

DESMOND (To himself)
Bye.

Desmond walks back over to the diving board, climbs up, walks across the board and
dives into the water. He does a couple of laps and then goes back to the shallow end.
He stands in the water trying to decide whether he should do a few more.

He plunges back in. He’s very graceful as his arms cut through the water effortlessly.
When he gets ½ way across the pool he suddenly jerks to a stop. One of his arms
goes into the air and the other grabs his chest. A look of pain crosses his face as
water rushes into his open mouth. Desmond goes under the water.

With as much strength as he can muster, he pulls himself up to the surface gasping
for air. He tries to make it to the side of the pool but he has great difficulty. He
reaches blindly for the pool’s wall but can’t find it. He struggles in the water then
comes up one last time, sees the wall and reaches out. He misses. Slowly, he drifts
back down.

INT. FUNERAL HOME. DAY.

Desmond lies in a casket at the front of the room. The room is half-full. Perlstein,
Jack Wolfe, Gil, Dumphee, Nieland Thomas, Karen Akers, Lady Harrington and
Evelyn are all there. Sarah is not present. Gil appears to have been crying. Karen is.
Perlstein, Wolfe, Dumphee and Nieland Thomas look upset. Lady Harrinton and
Evelyn are composed.

EXT. CEMETARY. DAY.

The small group watches as the casket is lowered into the ground. Once it has been,
Lady Harrington and Evelyn walk back to their car. They’re followed by the rest of
the mourners. Gil stays behind. After everyone has left, Gil pulls out a cigarette and
lights up. He doesn’t look at the grave, he merely stands next to it.

FOUR WEEKS LATER.

102
INT. CAR. DAY.

Nick is driving the car. Sarah is in the passenger seat. She holds a bouquet of
flowers.

NICK
There’s something for you under
the seat.

Sarah looks at Nick.

SARAH
Under the seat?

Nick nods. Sarah reaches under the seat and pulls out a copy of PHOTOPLAY. A
smiling portrait of Desmond is on the cover.

NICK
I just got it.

Sarah stares at the photo.

EXT. CEMETERY. DAY.

The car pulls into the cemetery and winds its way to Desmond’s plot.

INT. CAR. DAY.

Nick turns the car off. They both stare straight ahead for a moment and then Nick
turns and looks at Sarah.

NICK
You go first. I’ll wait here for a minute.

Sarah hesitates, then sets the PHOTOPLAY down on the seat. She opens the car
door, and with flowers in hand, gets out.

EXT. CEMETERY. DAY.

Sarah walks to Desmond’s grave. She stands over it, for a minute, then puts the
flowers down and kneels beside it. Very lovingly she bends over and kisses the earth
that holds Desmond. She rises back up and looks up at the large headstone. Engraved
on it, is Desmond’s name, the year of his birth (1883), the year of his death (1932)
and a list of all of his credits.

103
Sarah smiles at the credits but then her face contorts into a mesh of anguish. Her
mouth moves but nothing comes out.

Nick gets out of the car and walks down to Sarah. He stands beside her. She turns
and looks up at Nick. Sarah tries to say something but nothing comes out. She starts
and then stops and then finally it does come out but in a halting, melancholy way.

SARAH
Will anyone ever love me again?
(Pause)
The way Desmond did?

Nick doesn’t know what to say. He wants to tell her yes but that would be lying. And
while lying isn’t beneath him, at this particular moment, he can’t do it with any
sincerity. And anyway, they both know what the answer is.

SARAH
Tell me Mr. James, who will
put flowers on Desmond’s grave…
when I’m dead?

The directness of her statement makes Nick feel suddenly. He smiles one of those
sad smiles that people do when they’re trying to fight off tears. The he kneels down
beside her and puts his right hand lightly on her shoulder. With his free hand, he uses
his index finger to tap his chest.

NICK
I will. And I’ll tell anyone who
will listen to me, all about you…
and The Americano.

Nick grins. Sarah forces herself to smile and then wipes the tears off her face. She
turns back to the headstone and then tourches her forehead, her chest and both
shoulders as she makes the sign of the cross. She clasps her hands together and prays
– asking not only God but Desmond too – for forgiveness.

FADE OUT.

THE END

104

Bibliography

Carey, Gary. Doug and Mary: A Biography of Douglas Fairbanks and Mary
Pickford. New York: E. P. Dutton, 1977.

Hancock, Ralph and Fairbanks, Leticia. Douglas Fairbanks: The Fourth Musketeer.
London: Peter Davies, 1953.

Schickel, Richard. The Fairbanks Album. Boston: New York Graphic Society,
1975.

Tibbetts, John C. & Welsh, James M. His Majesty The American: The Films of
Douglas Fairbanks, Sr. South Brunswick & New York: A. S. Barnes and Company,
1977.

Abstract (if available)

Abstract This screenplay is based on Douglas Fairbanks (Desmond Sills) and Mary Pickford (Sarah McKay). It covers 20 years from their intial meeting till the death of the Fairbanks (Sills) character.

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Asset Metadata

Creator Gonzalez, Antonio (author)

Core Title The Americano

School School of Cinema-Television

Degree Master of Arts

Degree Program Cinema-Television (Critical Studies)

Publication Date 08/05/2007

Defense Date 08/01/2007

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag Douglas Fairbanks,Mary Pickford,OAI-PMH Harvest

Language English

Advisor Casper, Drew (committee chair), Greenwood, Trevor (committee member), Jewell, Richard B. (committee member)

Creator Email gonzalea@usc.edu

Permanent Link (DOI) https://doi.org/10.25549/usctheses-m763

Unique identifier UC180280

Identifier etd-Gonzalez-20070805 (filename),usctheses-m40 (legacy collection record id),usctheses-c127-536967 (legacy record id),usctheses-m763 (legacy record id)

Legacy Identifier etd-Gonzalez-20070805.pdf

Dmrecord 536967

Document Type Thesis

Rights Gonzalez, Antonio

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Repository Name Libraries, University of Southern California

Repository Location Los Angeles, California

Repository Email cisadmin@lib.usc.edu