1 00:00:17,396 --> 00:00:19,776 [LOUIS ARMSTRONG AND HIS HOT FIVE'S "BASIN STREET BLUES" PLAYING] 2 00:00:22,091 --> 00:00:23,951 WOMAN AS DOROTHY PARKER: HE HAS THE MOST PROFOUND BRAVERY 3 00:00:24,058 --> 00:00:27,338 THAT IT HAS EVER BEEN MY PRIVILEGE TO SEE. 4 00:00:27,475 --> 00:00:28,785 HE HAS HAD ABOUT 8 TIMES 5 00:00:28,959 --> 00:00:32,339 THE NORMAL ALLOTMENT OF RESPONSIBILITIES. 6 00:00:32,480 --> 00:00:34,000 IT TAKES COURAGE. 7 00:00:34,137 --> 00:00:37,657 HE REFERRED TO THE QUALITY AS "GUTS." 8 00:00:37,796 --> 00:00:39,966 HE WEIGHS ABOUT 200 POUNDS, 9 00:00:40,143 --> 00:00:43,663 AND HE IS EVEN BETTER THAN THOSE PHOTOGRAPHS. 10 00:00:43,836 --> 00:00:45,976 THE EFFECT UPON WOMEN IS SUCH THAT THEY WANT TO 11 00:00:46,149 --> 00:00:51,399 GO RIGHT OUT AND GET HIM AND BRING HIM HOME, STUFFED. 12 00:00:51,534 --> 00:00:53,474 DOROTHY PARKER. 13 00:01:05,755 --> 00:01:07,445 NARRATOR: BY THE TIME "A FAREWELL TO ARMS" 14 00:01:07,584 --> 00:01:10,864 TOPPED THE BEST-SELLER LISTS IN 1929, 15 00:01:11,036 --> 00:01:14,206 COLORFUL STORIES HAD ALREADY BEGUN TO CIRCULATE 16 00:01:14,350 --> 00:01:15,900 ABOUT ERNEST HEMINGWAY, 17 00:01:16,041 --> 00:01:19,731 MANY OF THEM TOLD BY THE WRITER HIMSELF. 18 00:01:19,872 --> 00:01:21,122 HE'D ONCE PLANNED TO BE 19 00:01:21,253 --> 00:01:23,363 A PROFESSIONAL BOXER, HE CLAIMED. 20 00:01:23,462 --> 00:01:26,912 HE'D FOUGHT IN THE ITALIAN ARMY DURING THE GREAT WAR, 21 00:01:27,052 --> 00:01:29,852 BEEN WOUNDED 7 SEPARATE TIMES, 22 00:01:29,951 --> 00:01:32,301 AND BEEN AWARDED A CHEST-FULL OF MEDALS 23 00:01:32,437 --> 00:01:37,547 ABOUT WHICH HE SAID HE WAS TOO MODEST TO SPEAK. 24 00:01:37,718 --> 00:01:40,448 AND HE'D NEARLY STARVED TO DEATH IN PARIS 25 00:01:40,583 --> 00:01:42,723 WHILE LEARNING TO WRITE. 26 00:01:42,861 --> 00:01:45,731 NONE OF THESE STORIES WAS TRUE. 27 00:01:47,659 --> 00:01:50,699 EDNA O'BRIEN: HE MYTHOLOGIZED HIMSELF. 28 00:01:50,800 --> 00:01:54,150 WHY DO PEOPLE MYTHOLOGIZE? 29 00:01:54,286 --> 00:01:56,046 TO WOO OTHER PEOPLE 30 00:01:56,150 --> 00:01:59,400 AND ALSO TO KEEP THEM AT A DISTANCE. 31 00:01:59,498 --> 00:02:04,878 TO FEEL INADEQUATE, BUT TO BOAST ABOUT BEING OVER-ADEQUATE. 32 00:02:06,091 --> 00:02:09,341 KATAKIS: HEMINGWAY CONSTRUCTED HIS MYTH TO A LARGE DEGREE 33 00:02:09,474 --> 00:02:13,754 AND HE MADE THE MISTAKE THAT ALL MYTH-MAKERS DO-- 34 00:02:13,926 --> 00:02:17,066 HE THOUGHT THAT HE COULD CONTROL IT. 35 00:02:17,240 --> 00:02:22,180 AND THERE COMES A TIME THAT YOU CAN'T ANYMORE. 36 00:02:22,314 --> 00:02:24,944 IT'S TAKEN ON A LIFE OF ITS OWN. 37 00:02:25,075 --> 00:02:28,935 IT BECAME VERY EXHAUSTING TO BE HEMINGWAY. 38 00:02:29,079 --> 00:02:30,939 THE HEMINGWAY THAT THE PUBLIC THOUGHT. 39 00:02:31,116 --> 00:02:34,596 AND LET'S FACE IT, WHEN HE WAS IN THE PUBLIC, 40 00:02:34,706 --> 00:02:37,846 HE WAS ALWAYS IN THE PUBLIC EYE 41 00:02:37,985 --> 00:02:41,815 AND THE PEOPLE EXPECTED HEMINGWAY TO BE HEMINGWAY. 42 00:02:41,954 --> 00:02:44,164 [JOHNNY GANDELSMAN'S "THE GARDEN OF EDEN MIX 3" PLAYING] 43 00:02:45,820 --> 00:02:49,720 NARRATOR: HIS ART AND THE GAUDY MYTHS THAT GREW UP AROUND HIM 44 00:02:49,859 --> 00:02:53,789 WERE ALREADY BECOMING CONFUSED IN THE PUBLIC MIND. 45 00:02:53,966 --> 00:02:55,896 AT FIRST, HE HIMSELF WAS EMBARRASSED 46 00:02:56,037 --> 00:03:01,007 BY SOME OF THE TALL TALES WHEN HE SAW THEM IN PRINT. 47 00:03:01,146 --> 00:03:04,386 BUT AS HIS FAME GREW OVER THE COMING YEARS, 48 00:03:04,529 --> 00:03:08,289 IT BECAME HARDER AND HARDER TO TELL THE REAL HEMINGWAY 49 00:03:08,464 --> 00:03:10,714 FROM THE ONE HE HAD CREATED. 50 00:03:14,297 --> 00:03:19,717 WOLFF: THERE'S A CHINESE PROVERB BY THE SAGE ZHUANGZI 51 00:03:19,854 --> 00:03:21,754 AND HE HAS IT THIS WAY. HE SAYS, 52 00:03:21,891 --> 00:03:24,861 GOOD FORTUNE IS AS LIGHT AS A FEATHER 53 00:03:24,997 --> 00:03:28,967 AND FEW ARE STRONG ENOUGH TO CARRY IT. 54 00:03:29,070 --> 00:03:32,730 WHEN YOU THINK OF THE WEIGHT 55 00:03:32,867 --> 00:03:36,487 THAT HIS FAME MUST HAVE LAID ON HIM, 56 00:03:36,664 --> 00:03:38,984 EVEN WHEN HE WAS YOUNG, 57 00:03:39,149 --> 00:03:41,529 AND THE ANXIETY THAT WOULD PRODUCE OF 58 00:03:41,669 --> 00:03:43,499 HOW CAN I LIVE UP TO THIS? 59 00:03:43,602 --> 00:03:45,502 HOW CAN THE NEXT BOOK BE BETTER? 60 00:03:45,673 --> 00:03:49,063 WHAT IS IN ME TO MAKE THIS REAL? 61 00:03:51,541 --> 00:03:55,101 IT'S VERY HARD, I THINK, TO BE A PUBLIC PERSON LIKE THAT. 62 00:03:55,235 --> 00:03:57,885 AND SO, I THINK EVERY PUBLIC PERSON 63 00:03:58,030 --> 00:04:03,350 CREATES SOME KIND OF AVATAR, IF YOU WILL, OF THEMSELVES, 64 00:04:03,450 --> 00:04:07,700 SOME HOLOGRAPH OF THEMSELVES TO PRESENT PUBLICLY 65 00:04:07,868 --> 00:04:11,318 TO SAVE WHATEVER IS PRIVATE IN THEM. 66 00:04:12,286 --> 00:04:15,836 THE PROBLEM IS THAT EVENTUALLY YOUR AVATAR 67 00:04:15,945 --> 00:04:18,045 WILL CONSUME YOU. 68 00:04:28,889 --> 00:04:31,059 [FATS WALLER'S "AIN'T MISBEHAVIN'" PLAYING] 69 00:04:37,380 --> 00:04:38,800 MAN AS HEMINGWAY: WE HAVE A FINE HOUSE HERE 70 00:04:38,933 --> 00:04:41,423 AND THE KIDS ARE ALL WELL. 71 00:04:41,557 --> 00:04:46,037 ALSO 4 RACCOONS, A POSSUM, 18 GOLDFISH, 3 PEACOCKS, 72 00:04:46,147 --> 00:04:49,737 AND A YARD WITH FIG TREE AND A LIME TREE. 73 00:04:49,910 --> 00:04:53,260 VERY FINE THE WAY PAULINE HAS FIXED IT. 74 00:04:53,396 --> 00:04:57,086 WE HAVE BEEN, AND ARE, DAMNED HAPPY. 75 00:04:57,262 --> 00:04:59,782 I COULD STAY HERE DAMNED NEAR ALL THE TIME 76 00:04:59,920 --> 00:05:02,820 AND HAVE A FINE TIME WATCHING THE THINGS GROW 77 00:05:02,957 --> 00:05:04,857 AND BE HAPPIER THAN I UNDERSTAND. 78 00:05:04,994 --> 00:05:09,414 MAN: ♪ NO ONE TO TALK WITH, ALL MY MYSELF ♪ 79 00:05:09,516 --> 00:05:14,486 ♪ NO ONE TO WALK WITH BUT I'M HAPPY ON THE SHELF ♪ 80 00:05:14,624 --> 00:05:15,804 ♪ AIN'T MISBEHAVIN'... ♪ 81 00:05:15,936 --> 00:05:17,246 NARRATOR: THE BIG ANTEBELLUM HOUSE 82 00:05:17,420 --> 00:05:20,290 ON WHITEHEAD STREET IN KEY WEST, FLORIDA 83 00:05:20,389 --> 00:05:23,389 WAS A GIFT FROM HIS SECOND WIFE PAULINE PFEIFFER'S 84 00:05:23,530 --> 00:05:28,290 WEALTHY UNCLE GUS, WHO BELIEVED DEEPLY IN HEMINGWAY'S WRITING 85 00:05:28,397 --> 00:05:31,117 AND WHO WOULD PROVIDE FINANCIAL HELP TO MAINTAIN 86 00:05:31,227 --> 00:05:35,607 THEIR EXPENSIVE AND EXTRAVAGANT WAY OF LIFE. 87 00:05:35,783 --> 00:05:40,343 DAY TO DAY COSTS WERE COVERED BY PAULINE'S TRUST FUND. 88 00:05:41,548 --> 00:05:45,858 3 HEMINGWAY CHILDREN WOULD SOON BE SEEN THERE: 89 00:05:46,000 --> 00:05:47,970 JACK, KNOWN AS "BUMBY," 90 00:05:48,071 --> 00:05:50,491 THE OFFSPRING OF HEMINGWAY'S FIRST MARRIAGE, 91 00:05:50,626 --> 00:05:53,866 SPENT MOST OF EACH YEAR WITH HIS MOTHER HADLEY, 92 00:05:54,008 --> 00:05:57,558 WHO WOULD HAPPILY REMARRY AND SETTLE NEAR CHICAGO. 93 00:05:57,702 --> 00:06:02,122 BUT HE SUMMERED IN FLORIDA WITH HIS FATHER AND PAULINE. 94 00:06:03,155 --> 00:06:05,875 PATRICK, ERNEST AND PAULINE'S FIRST-BORN, 95 00:06:06,020 --> 00:06:09,820 CALLED "MOUSE," WAS IN PERMANENT RESIDENCE. 96 00:06:09,990 --> 00:06:16,170 SO WAS GREGORY, NICKNAMED "GIGI," BORN IN 1931. 97 00:06:16,341 --> 00:06:21,731 MAN: ♪ AIN'T MISBEHAVIN', SAVIN' ALL MY LOVE FOR YOU ♪ 98 00:06:21,864 --> 00:06:25,214 NARRATOR: MOTHERHOOD WAS ALWAYS LESS IMPORTANT TO PAULINE 99 00:06:25,350 --> 00:06:28,220 THAN WHAT SHE SAID WAS HER FIRST DUTY-- 100 00:06:28,353 --> 00:06:32,393 TO REMAIN ALWAYS "A LOVELY, UNHARRIED WIFE." 101 00:06:33,703 --> 00:06:36,883 ERNEST LONGED FOR HER WHEN EVEN BRIEFLY AWAY 102 00:06:37,017 --> 00:06:39,357 AND DELIGHTED IN HER WILLINGNESS TO PLEASE HIM 103 00:06:39,502 --> 00:06:41,232 BY DYEING HER HAIR-- 104 00:06:41,366 --> 00:06:46,056 LIKE HAVING "A NEW WIFE EVERY DAY," HE TOLD A FRIEND. 105 00:06:46,198 --> 00:06:47,578 DEARBORN: HER NUMBER-ONE GOAL IN LIFE 106 00:06:47,717 --> 00:06:50,057 IS MAKING HEMINGWAY HAPPY. 107 00:06:50,202 --> 00:06:51,512 SHE, SHE WANTS HIM TO KEEP WRITING. 108 00:06:51,687 --> 00:06:55,447 SHE WAS THE REAL PROTECTOR OF HIS TALENT. 109 00:06:55,587 --> 00:07:00,207 AND SHE WANTED TO FACILITATE THAT IN ANY WAY SHE COULD. 110 00:07:00,316 --> 00:07:03,526 AND SHE SUBMERGED HERSELF, HER IDENTITY. 111 00:07:03,699 --> 00:07:07,049 SHE LEFT HER INFANT CHILDREN, ONE IS 3 MONTHS OLD 112 00:07:07,219 --> 00:07:09,769 AT ONE POINT, TO GO HUNTING WITH HEMINGWAY. 113 00:07:09,912 --> 00:07:12,922 AND SHE'D SAY, "YOU'RE MORE IMPORTANT THAN THEY ARE." 114 00:07:13,053 --> 00:07:15,263 AND HE WAS HER PRIORITY. 115 00:07:16,953 --> 00:07:18,443 NARRATOR: THE HOUSE ON WHITEHEAD STREET WOULD BE 116 00:07:18,576 --> 00:07:22,266 HEMINGWAY'S COMFORTABLE HOME FOR THE NEXT 8 YEARS. 117 00:07:22,407 --> 00:07:25,647 WHEN HE WAS NOT WRITING, HE FISHED THE NEARBY GULF STREAM 118 00:07:25,790 --> 00:07:30,550 FOR TUNA AND SAILFISH, MAKO SHARK AND BLUE MARLIN, 119 00:07:30,726 --> 00:07:34,066 REFEREED BOXING MATCHES ON FRIDAY NIGHTS, 120 00:07:34,177 --> 00:07:36,587 AND HUNG OUT IN A FAVORITE KEY WEST SALOON 121 00:07:36,732 --> 00:07:39,292 CALLED SLOPPY JOE'S. 122 00:07:41,978 --> 00:07:43,638 IN KEY WEST, HE ALSO MAINTAINED 123 00:07:43,773 --> 00:07:48,433 THE STRICT WRITER'S DISCIPLINE HE HAD FOLLOWED SINCE PARIS. 124 00:07:48,537 --> 00:07:51,127 [JOHANN SEBASTIAN BACH'S "CELLO SUITE NO. 1 IN G MAJOR, BWV 1007: COURANTE" PLAYING] 125 00:07:52,092 --> 00:07:53,092 MAN AS HEMINGWAY: I WRITE EVERY MORNING AS SOON 126 00:07:53,231 --> 00:07:56,611 AFTER FIRST LIGHT AS POSSIBLE. 127 00:07:56,752 --> 00:07:58,482 THERE IS NO ONE TO DISTURB YOU 128 00:07:58,616 --> 00:08:02,586 AND IT IS COOL OR COLD AND YOU COME TO YOUR WORK 129 00:08:02,758 --> 00:08:04,828 AND WARM AS YOU WRITE. 130 00:08:06,416 --> 00:08:08,936 PATRICK: HE DIDN'T WORK ALL DAY. 131 00:08:09,109 --> 00:08:10,869 I THINK THAT'S THE MOST ILLUMINATING THING 132 00:08:11,007 --> 00:08:13,837 ABOUT DESCRIBING HIS WRITING HABITS. 133 00:08:15,115 --> 00:08:17,875 AFTER LUNCH, HE ENJOYED HIMSELF. 134 00:08:18,014 --> 00:08:20,534 AS A CHILD GROWING UP, YOU JUST TAKE 135 00:08:20,672 --> 00:08:25,372 THE CIRCUMSTANCES OF YOUR LIFE AS BEING NORMAL. 136 00:08:25,505 --> 00:08:29,405 AND SO...HE WAS A STRANGE PERSON IN THE SENSE THAT 137 00:08:29,543 --> 00:08:32,133 HE WAS INACCESSIBLE IN THE FIRST HALF OF THE DAY 138 00:08:32,235 --> 00:08:35,645 AND OVER-ACCESSIBLE IN THE SECOND. 139 00:08:35,791 --> 00:08:37,721 BUT I REALLY ENJOYED THE FACT 140 00:08:37,862 --> 00:08:41,282 THAT HE WAS ALWAYS GAME FOR SOMETHING IN THE AFTERNOON 141 00:08:41,382 --> 00:08:44,212 AND THAT WE WERE INCLUDED. 142 00:08:44,351 --> 00:08:49,631 UNLIKE SOME ARTISTS THAT I'VE HEARD ABOUT, 143 00:08:49,805 --> 00:08:52,115 MY DAD WAS A VERY GOOD FATHER. 144 00:08:54,016 --> 00:08:58,226 MAN AS RALPH ELLISON: I PRACTICED WRITING AND STUDIED JOYCE, DOSTOYEVSKY, 145 00:08:58,365 --> 00:09:00,815 STEIN, AND HEMINGWAY. 146 00:09:00,919 --> 00:09:03,679 ESPECIALLY HEMINGWAY. I READ HIM 147 00:09:03,784 --> 00:09:07,654 TO LEARN HIS SENTENCE STRUCTURE AND HOW TO ORGANIZE A STORY. 148 00:09:07,754 --> 00:09:10,204 I GUESS MANY YOUNG WRITERS WERE DOING THIS, 149 00:09:10,342 --> 00:09:12,172 BUT I ALSO USED HIS DESCRIPTION OF HUNTING 150 00:09:12,344 --> 00:09:15,934 WHEN I WENT INTO THE FIELDS THE NEXT DAY. 151 00:09:16,072 --> 00:09:17,352 I HAD BEEN HUNTING SINCE I WAS 11, 152 00:09:17,487 --> 00:09:19,387 BUT NO ONE HAD BROKEN DOWN THE PROCESS 153 00:09:19,524 --> 00:09:22,354 OF WING-SHOOTING FOR ME, AND IT WAS 154 00:09:22,527 --> 00:09:26,567 FROM READING HEMINGWAY THAT I LEARNED TO LEAD A BIRD. 155 00:09:28,740 --> 00:09:31,920 WHEN HE DESCRIBES SOMETHING IN PRINT, BELIEVE HIM. 156 00:09:32,054 --> 00:09:34,444 HE'S BEEN THERE. 157 00:09:34,574 --> 00:09:36,274 RALPH ELLISON. 158 00:09:38,508 --> 00:09:40,168 NARRATOR: ERNEST HEMINGWAY HAD TRANSFORMED 159 00:09:40,269 --> 00:09:42,099 THE AMERICAN SHORT STORY 160 00:09:42,236 --> 00:09:44,686 AND REMADE THE AMERICAN NOVEL, 161 00:09:44,860 --> 00:09:46,550 BUT HE WAS NOT SATISFIED. 162 00:09:46,655 --> 00:09:51,655 NOW HE WANTED TO DEMONSTRATE HIS MASTERY OF NONFICTION AS WELL. 163 00:09:52,937 --> 00:09:55,147 RUNNING ALWAYS THROUGH HEMINGWAY'S WRITING-- 164 00:09:55,284 --> 00:09:58,774 AND HIS LIFE--WAS A SINGLE DARK THREAD: 165 00:09:58,908 --> 00:10:01,598 HIS FASCINATION WITH DEATH. 166 00:10:01,739 --> 00:10:05,609 "ALL STORIES IF CONTINUED FAR ENOUGH," HE WROTE, 167 00:10:05,743 --> 00:10:07,573 "END IN DEATH." 168 00:10:07,710 --> 00:10:09,780 VERGHESE: HOW CAN YOU NOT BE OBSESSED ABOUT DEATH? 169 00:10:09,919 --> 00:10:13,269 AND I THINK IT DROVE EVERYTHING THAT FOLLOWED IN HIS WRITING. 170 00:10:13,405 --> 00:10:16,055 YOU KNOW, IT WAS ALL FUELED BY THE SENSE THAT 171 00:10:16,236 --> 00:10:17,436 WE'RE GOING TO DIE AND WHY NOT? 172 00:10:17,582 --> 00:10:19,382 ISN'T THAT THE REASON FOR US TO 173 00:10:19,480 --> 00:10:21,900 BRING OUR BEST TO THIS MOMENT? 174 00:10:22,000 --> 00:10:23,000 NARRATOR: "A GOOD WRITER SHOULD KNOW 175 00:10:23,139 --> 00:10:24,929 NEAR TO EVERYTHING AS POSSIBLE," 176 00:10:25,072 --> 00:10:26,592 HEMINGWAY WROTE. 177 00:10:26,729 --> 00:10:28,179 "NATURALLY HE WILL NOT," 178 00:10:28,317 --> 00:10:31,317 BUT HE SHOULD BE CAPABLE OF LEARNING SO FAST 179 00:10:31,458 --> 00:10:34,248 AND REMEMBERING SO MUCH THAT HE SEEMS TO HAVE 180 00:10:34,426 --> 00:10:38,426 BEEN BORN WITH KNOWLEDGE NONETHELESS. 181 00:10:38,568 --> 00:10:40,668 HE LIKED TO CALL HIMSELF PAPA 182 00:10:40,812 --> 00:10:43,442 AND HIS APPARENT EXPERTISE IN EVERYTHING 183 00:10:43,608 --> 00:10:46,198 WAS PART OF HIS MAGIC ON THE PRINTED PAGE, 184 00:10:46,335 --> 00:10:48,335 THOUGH IN REAL LIFE, SOME OF HIS FRIENDS 185 00:10:48,475 --> 00:10:53,575 WEARIED OF WHAT ONE CALLED HIS "TENDENCY TO BE AN ORACLE." 186 00:10:54,688 --> 00:10:58,418 HEMINGWAY SAW IT AS HIS DUTY TO PASS ON TO THE WORLD 187 00:10:58,519 --> 00:11:00,179 AS MUCH OF WHAT HE'D LEARNED 188 00:11:00,314 --> 00:11:03,774 ABOUT THE RIGHT WAY TO DO THINGS AS HE COULD-- 189 00:11:03,939 --> 00:11:06,109 HOW TO ORDER A GOOD FRENCH MEAL, 190 00:11:06,217 --> 00:11:10,117 FIRE A MACHINE GUN, BAIT A HOOK, 191 00:11:10,255 --> 00:11:13,945 MAKE LOVE TO A WOMAN-- 192 00:11:14,052 --> 00:11:16,052 OR APPRECIATE WHAT A MATADOR 193 00:11:16,192 --> 00:11:18,712 WAS DOING IN THE BULLRING. 194 00:11:19,679 --> 00:11:22,099 [JOHNNY GANDELSMAN'S "EL TORITO MIX 3" PLAYING] 195 00:11:36,385 --> 00:11:37,625 MAN AS HEMINGWAY: THE BULLFIGHT IS NOT A SPORT 196 00:11:37,800 --> 00:11:40,530 IN THE ANGLO-SAXON SENSE OF THE WORD. 197 00:11:41,839 --> 00:11:44,909 THAT IS, IT IS NOT AN EQUAL CONTEST 198 00:11:45,049 --> 00:11:47,149 OR AN ATTEMPT AT AN EQUAL CONTEST 199 00:11:47,258 --> 00:11:49,328 BETWEEN A BULL AND A MAN. 200 00:11:51,503 --> 00:11:56,853 RATHER, IT IS A TRAGEDY; THE DEATH OF THE BULL, 201 00:11:56,992 --> 00:11:59,752 WHICH IS PLAYED, MORE OR LESS WELL, BY THE BULL 202 00:11:59,891 --> 00:12:02,511 AND THE MAN INVOLVED 203 00:12:02,652 --> 00:12:05,312 AND IN WHICH THERE IS DANGER FOR THE MAN 204 00:12:05,483 --> 00:12:07,763 BUT CERTAIN DEATH FOR THE ANIMAL. 205 00:12:07,899 --> 00:12:10,139 [CROWD CHEERING] 206 00:12:15,010 --> 00:12:17,180 [VARGAS LLOSA SPEAKING SPANISH] 207 00:13:11,721 --> 00:13:13,521 NARRATOR: THE BOOK HEMINGWAY WAS WORKING ON 208 00:13:13,654 --> 00:13:18,384 WHEN HE AND HIS FAMILY MOVED INTO THEIR NEW HOUSE IN KEY WEST 209 00:13:18,487 --> 00:13:20,387 WAS "DEATH IN THE AFTERNOON." 210 00:13:20,489 --> 00:13:23,599 IT WAS A NEW KIND OF JOURNALISM, 211 00:13:23,768 --> 00:13:27,908 IN WHICH HE WAS THE CENTRAL CHARACTER, "THE AUTHOR," 212 00:13:28,014 --> 00:13:31,294 WHO EXPLAINS TO A FICTIONAL "OLD LADY" 213 00:13:31,431 --> 00:13:33,951 EVERYTHING HE HAS LEARNED OVER THE YEARS 214 00:13:34,089 --> 00:13:35,849 ABOUT THE RITUAL OF BULLFIGHTING-- 215 00:13:35,987 --> 00:13:40,197 AND ABOUT SPAIN, THE COUNTRY HE'D COME TO LOVE 216 00:13:40,336 --> 00:13:41,816 AS MUCH AS HE LOVED HIS OWN. 217 00:13:41,959 --> 00:13:44,409 [DAVID CIERI'S "QUE RICO" PLAYING] 218 00:13:47,516 --> 00:13:49,586 MANDEL: BACK WHEN HE FIRST BECAME ATTACHED 219 00:13:49,759 --> 00:13:51,689 TO SCRIBNER'S PUBLISHING HOUSE, 220 00:13:51,831 --> 00:13:55,181 HIS VERY FIRST LETTER TO HIS EDITOR WAS, 221 00:13:55,317 --> 00:13:57,487 "I WANT TO WRITE A BIG BOOK 222 00:13:57,629 --> 00:14:00,289 ABOUT THE BULLFIGHT, WITH PICTURES." 223 00:14:00,391 --> 00:14:01,431 HE READ AND READ AND READ AND READ 224 00:14:01,599 --> 00:14:03,119 AND READ ABOUT BULLFIGHTING, 225 00:14:03,221 --> 00:14:04,951 IN ENGLISH AND IN SPANISH. 226 00:14:05,120 --> 00:14:06,780 AND HE LEARNED TO READ THE BULL. 227 00:14:06,949 --> 00:14:08,849 THE BULL IS A TEXT. YOU HAVE TO READ IT 228 00:14:08,986 --> 00:14:10,436 AND SAY, "THESE ARE HIS STRENGTHS." 229 00:14:10,539 --> 00:14:12,329 "THESE ARE HIS WEAKNESSES." 230 00:14:12,472 --> 00:14:13,782 "THIS IS WHERE I CAN USE IT." 231 00:14:13,956 --> 00:14:16,646 "THIS IS WHERE I CAN DOMINATE IT." 232 00:14:16,786 --> 00:14:19,816 "THIS IS WHAT I BETTER STAY AWAY FROM." 233 00:14:21,688 --> 00:14:24,138 NARRATOR: HEMINGWAY UNDERSTOOD THAT MANY AMERICANS 234 00:14:24,311 --> 00:14:26,491 WOULD FIND BULLFIGHTING ABHORRENT, 235 00:14:26,624 --> 00:14:29,014 CONVINCED OF ITS CRUELTY. 236 00:14:29,144 --> 00:14:31,874 HE WANTED TO HELP THEM GET BEYOND THAT, HE SAID, 237 00:14:32,009 --> 00:14:35,909 SO THAT THEY COULD EXPERIENCE "TRULY WHAT YOU REALLY FELT 238 00:14:36,047 --> 00:14:39,397 RATHER THAN WHAT YOU WERE SUPPOSED TO FEEL." 239 00:14:42,882 --> 00:14:45,232 MANDEL: THE BULLFIGHTER GETS TO USE ALL OF HIS INTELLIGENCE 240 00:14:45,367 --> 00:14:48,537 AND ALL OF HIS CRAFT ON THE BULL. 241 00:14:48,680 --> 00:14:50,720 AND, IF IT ALL WORKS VERY, VERY WELL, 242 00:14:50,855 --> 00:14:53,685 IT MAKES A VERY BEAUTIFUL BULLFIGHT 243 00:14:53,858 --> 00:14:57,928 WHERE THE MAN IS TRIUMPHANT AND THE BULL GETS KILLED. 244 00:14:58,069 --> 00:15:00,869 THAT'S THE MAIN THING THAT HAPPENS IN THE BULLFIGHT, 245 00:15:01,003 --> 00:15:03,493 IS THAT THE BULL HAS TO GET KILLED. 246 00:15:04,869 --> 00:15:08,909 THAT'S PREDESTINED. SO, YOU HAVE PREDESTINATION 247 00:15:09,046 --> 00:15:11,666 AND YOU HAVE A POWERFUL FORCE THAT'S BROUGHT FROM 248 00:15:11,772 --> 00:15:14,192 A HIGH PLACE TO A LOW PLACE. 249 00:15:14,292 --> 00:15:15,712 YOU HAVE TRAGEDY. 250 00:15:15,880 --> 00:15:18,680 THAT'S THE CLASSICAL DEFINITION OF TRAGEDY. 251 00:15:19,953 --> 00:15:22,163 [MANUEL PONCE'S "FOLIES D'ESPAGNE" PLAYING] 252 00:15:23,370 --> 00:15:25,720 MAN AS HEMINGWAY: I KNOW ONLY THAT WHAT IS MORAL 253 00:15:25,855 --> 00:15:28,815 IS WHAT YOU FEEL GOOD AFTER 254 00:15:28,962 --> 00:15:33,422 AND WHAT IS IMMORAL IS WHAT YOU FEEL BAD AFTER 255 00:15:33,553 --> 00:15:36,313 AND JUDGED BY THESE MORAL STANDARDS, 256 00:15:36,452 --> 00:15:39,392 WHICH I DO NOT DEFEND, 257 00:15:39,490 --> 00:15:41,870 THE BULLFIGHT IS VERY MORAL TO ME 258 00:15:42,044 --> 00:15:45,054 BECAUSE I FEEL VERY FINE WHILE IT IS GOING ON 259 00:15:45,151 --> 00:15:47,771 AND HAVE A FEELING OF LIFE AND DEATH 260 00:15:47,912 --> 00:15:51,742 AND MORTALITY AND IMMORTALITY, 261 00:15:51,847 --> 00:15:59,027 AND AFTER IT IS OVER, I FEEL VERY SAD BUT VERY FINE. 262 00:16:04,860 --> 00:16:07,450 NARRATOR: WRITING "DEATH IN THE AFTERNOON" TOOK HEMINGWAY 263 00:16:07,587 --> 00:16:09,587 THE BETTER PART OF 5 YEARS-- 264 00:16:09,761 --> 00:16:12,831 AND HE SAID HE'D WISHED HE'D HAD 10. 265 00:16:12,972 --> 00:16:15,802 HE BELIEVED IT WAS "MAYBE THE BEST BOOK YET," 266 00:16:15,940 --> 00:16:19,980 HE TOLD A FRIEND, AND IT WAS GENERALLY WELL-RECEIVED: 267 00:16:20,117 --> 00:16:21,187 H.L. MENCKEN CALLED IT 268 00:16:21,325 --> 00:16:23,255 "AN EXTRAORDINARILY FINE PIECE 269 00:16:23,361 --> 00:16:25,501 "OF EXPOSITORY WRITING... 270 00:16:25,639 --> 00:16:27,919 "FULL OF THE VIVIDNESS OF SOMETHING REALLY 271 00:16:28,090 --> 00:16:31,580 SEEN, FELT, EXPERIENCED." 272 00:16:32,612 --> 00:16:36,102 BUT OTHER CRITICS WERE DISAPPOINTED. 273 00:16:36,202 --> 00:16:39,032 IN A DISMISSIVE "NEW REPUBLIC" REVIEW TITLED 274 00:16:39,170 --> 00:16:41,030 "BULL IN THE AFTERNOON," 275 00:16:41,172 --> 00:16:42,622 THE CRITIC MAX EASTMAN 276 00:16:42,794 --> 00:16:45,184 DISMISSED BULLFIGHTING AS NOTHING MORE THAN 277 00:16:45,314 --> 00:16:47,594 RITUALIZED CRUELTY-- 278 00:16:47,765 --> 00:16:49,625 AND SUGGESTED HEMINGWAY HIMSELF 279 00:16:49,801 --> 00:16:52,801 WAS INSECURE IN HIS MANHOOD, GUILTY OF 280 00:16:52,942 --> 00:16:56,122 "WEARING FALSE HAIR ON HIS CHEST." 281 00:16:57,947 --> 00:17:00,667 HEMINGWAY WAS LIVID. 4 YEARS LATER, 282 00:17:00,812 --> 00:17:04,512 HE WOULD CORNER EASTMAN, TEARING OPEN HIS OWN SHIRT 283 00:17:04,644 --> 00:17:06,994 TO SHOW HOW MUCH HAIR GREW ON HIS CHEST, 284 00:17:07,164 --> 00:17:11,134 AND SHOUTING, "WHAT DO YOU MEAN ACCUSING ME OF IMPOTENCE?" 285 00:17:11,306 --> 00:17:14,896 BEFORE SLAPPING THE CRITIC WITH A BOOK. 286 00:17:18,071 --> 00:17:20,491 [KOP É TIATIE CAC'S "AKAMBA" PLAYING] 287 00:17:24,146 --> 00:17:25,246 MAN AS HEMINGWAY: IT IS PLEASANT TO HUNT SOMETHING 288 00:17:25,389 --> 00:17:26,559 THAT YOU WANT VERY MUCH 289 00:17:26,700 --> 00:17:29,260 OVER A LONG PERIOD OF TIME, 290 00:17:29,393 --> 00:17:31,503 BEING OUTWITTED, OUTMANEUVERED, 291 00:17:31,602 --> 00:17:34,332 AND FAILING AT THE END OF EACH DAY, 292 00:17:34,432 --> 00:17:36,062 BUT HAVING THE HUNT AND KNOWING 293 00:17:36,193 --> 00:17:40,163 EVERY TIME YOU ARE OUT THAT, SOONER OR LATER, 294 00:17:40,266 --> 00:17:42,816 YOUR LUCK WILL CHANGE AND THAT YOU WILL GET 295 00:17:42,923 --> 00:17:46,313 THE CHANCE THAT YOU ARE SEEKING. 296 00:17:46,410 --> 00:17:47,550 [GUNSHOT] 297 00:17:47,687 --> 00:17:48,717 NARRATOR: EVER SINCE HE WAS A BOY, 298 00:17:48,860 --> 00:17:50,170 HEMINGWAY HAD HOPED TO GO 299 00:17:50,276 --> 00:17:52,856 ON A HUNTING SAFARI IN EAST AFRICA, 300 00:17:53,002 --> 00:17:57,112 JUST AS HIS HERO THEODORE ROOSEVELT HAD. 301 00:17:57,248 --> 00:18:01,358 IN LATE 1933, PAULINE'S GENEROUS UNCLE GUS 302 00:18:01,528 --> 00:18:06,778 PROVIDED THE ENORMOUS SUM WITH WHICH TO MAKE IT HAPPEN. 303 00:18:06,913 --> 00:18:08,883 TO SERVE AS THE HEMINGWAYS' GUIDE, 304 00:18:09,053 --> 00:18:11,853 THEY HIRED PHILIP PERCIVAL, WHO AS A YOUNG MAN 305 00:18:12,021 --> 00:18:14,921 HAD BEEN PART OF THE ROOSEVELT EXPEDITION. 306 00:18:15,059 --> 00:18:17,859 CHARLES THOMPSON, A FRIEND AND FISHING COMPANION 307 00:18:17,958 --> 00:18:21,098 FROM KEY WEST, CAME ALONG AS WELL. 308 00:18:22,204 --> 00:18:25,214 DURING THE TWO-MONTH SAFARI, THE HEMINGWAY PARTY 309 00:18:25,311 --> 00:18:28,691 WOULD SHOOT 5 LIONS, 4 CAPE BUFFALO, 310 00:18:28,866 --> 00:18:31,106 TWO RHINO, TWO LEOPARDS, 311 00:18:31,248 --> 00:18:35,388 5 CHEETAHS, A HOST OF GAZELLES AND ANTELOPE 312 00:18:35,562 --> 00:18:36,632 WITH WHICH TO FEED THE CAMP, 313 00:18:36,770 --> 00:18:38,700 AND 44 HYENAS FOR WHAT 314 00:18:38,876 --> 00:18:41,526 HEMINGWAY CALLED "AMUSEMENT." 315 00:18:42,500 --> 00:18:44,920 DUDLEY: AFRICA, FOR HEMINGWAY, PROVIDED THE PERFECT SPACE 316 00:18:45,020 --> 00:18:49,230 WITHIN WHICH HE COULD EXERCISE HIS HYPER-MASCULINE MUSCLES; 317 00:18:49,404 --> 00:18:52,414 WHERE HE COULD BE THE "GREAT WHITE CONQUERING HERO," UH, 318 00:18:52,510 --> 00:18:56,030 AT A TIME WHERE, AT LEAST, IN SOME SENSE, 319 00:18:56,169 --> 00:18:58,619 THAT WHOLE PERSONA WAS COMING UNDER FIRE HERE, 320 00:18:58,758 --> 00:19:01,038 BACK HERE IN AMERICA. 321 00:19:01,174 --> 00:19:05,944 WOLFF: I THINK IN SOME WAYS HE ESCAPED INTO HUNTING. 322 00:19:06,110 --> 00:19:09,770 I THINK HE REALLY LOVED IT FROM HIS EARLIEST DAYS 323 00:19:09,872 --> 00:19:13,842 AND I BE...BELIEVE THAT, THAT PASSION WAS SINCERE 324 00:19:13,980 --> 00:19:16,470 AND NOT JUST A, A POSE. 325 00:19:16,603 --> 00:19:20,883 BUT I WILL ADMIT THAT IT PUZZLES ME A BIT 326 00:19:21,021 --> 00:19:27,861 THAT HAVING SEEN SO MUCH VIOLENCE, SO MUCH KILLING, 327 00:19:27,994 --> 00:19:30,794 NOT JUST DEATH BUT KILLING, 328 00:19:30,962 --> 00:19:34,862 THE PLEASURE IN KILLING IS A MYSTERY TO ME. 329 00:19:35,001 --> 00:19:37,761 I DON'T--I, I DON'T UNDERSTAND IT. 330 00:19:39,661 --> 00:19:42,801 MAN AS HEMINGWAY: I DID NOTHING THAT HAD NOT BEEN DONE TO ME. 331 00:19:42,974 --> 00:19:47,054 I HAD BEEN SHOT AND I HAD BEEN CRIPPLED AND GOTTEN AWAY. 332 00:19:47,186 --> 00:19:50,806 I EXPECTED, ALWAYS, TO BE KILLED BY ONE THING OR ANOTHER 333 00:19:50,913 --> 00:19:54,193 AND I, TRULY, DID NOT MIND THAT ANY MORE. 334 00:19:54,331 --> 00:19:57,891 SINCE I STILL LOVED TO HUNT, I RESOLVED THAT I WOULD ONLY SHOOT 335 00:19:58,024 --> 00:20:00,414 AS LONG AS I COULD KILL CLEANLY, 336 00:20:00,544 --> 00:20:04,624 AND AS SOON AS I LOST THAT ABILITY, I WOULD STOP. 337 00:20:07,136 --> 00:20:08,966 NARRATOR: THINGS DID NOT ALWAYS GO WELL, 338 00:20:09,138 --> 00:20:13,138 [GUNSHOT] AND HE OFTEN SHOT BADLY. 339 00:20:13,315 --> 00:20:16,835 HE SUFFERED AN ATTACK OF AMOEBIC DYSENTERY SO SEVERE 340 00:20:17,008 --> 00:20:20,008 HE HAD TO BE AIRLIFTED PAST THE SNOW-CAPPED PEAK 341 00:20:20,149 --> 00:20:22,879 OF MOUNT KILIMANJARO TO NAIROBI 342 00:20:23,014 --> 00:20:26,984 AND KEPT THERE FOR A WEEK UNDER A DOCTOR'S CARE. 343 00:20:29,711 --> 00:20:30,751 BUT DESPITE IT ALL, 344 00:20:30,884 --> 00:20:32,374 EVERYTHING ABOUT THE CONTINENT 345 00:20:32,507 --> 00:20:33,747 ENTHRALLED HIM 346 00:20:33,887 --> 00:20:35,717 AND HE TOOK DETAILED NOTES, 347 00:20:35,855 --> 00:20:37,025 PLANNING TO TURN THEM INTO 348 00:20:37,166 --> 00:20:39,816 ANOTHER WORK OF NONFICTION. 349 00:20:40,756 --> 00:20:42,236 "I NEVER KNEW OF A MORNING IN AFRICA 350 00:20:42,379 --> 00:20:43,549 "WHEN I WOKE THAT I WAS 351 00:20:43,690 --> 00:20:46,180 NOT HAPPY," HE WOULD WRITE. 352 00:20:46,348 --> 00:20:50,528 HE LOVED THE LANDSCAPE, THE BLUE OVER-ARCHING SKY, 353 00:20:50,697 --> 00:20:53,937 THE TEEMING WILDLIFE--ABOVE ALL, 354 00:20:54,080 --> 00:20:58,570 THE ISOLATION HE CRAVED BUT HAD RARELY FOUND AT HOME. 355 00:20:58,705 --> 00:21:01,045 [JOHNNY GANDELSMAN'S "LA PLENTITUD MIX 2" PLAYING] 356 00:21:01,190 --> 00:21:02,360 MAN AS HEMINGWAY: ALL I WANTED TO DO NOW 357 00:21:02,468 --> 00:21:05,018 WAS GET BACK TO AFRICA. 358 00:21:05,125 --> 00:21:07,535 WE HAD NOT LEFT IT YET, 359 00:21:07,714 --> 00:21:09,064 BUT WHEN I WOULD WAKE IN THE NIGHT, 360 00:21:09,233 --> 00:21:13,863 I WOULD LIE, LISTENING, HOMESICK FOR IT ALREADY. 361 00:21:15,964 --> 00:21:17,554 I LOVED THE COUNTRY 362 00:21:17,655 --> 00:21:19,165 SO THAT I WAS AS HAPPY AS YOU ARE 363 00:21:19,312 --> 00:21:22,142 AFTER YOU HAVE BEEN WITH A WOMAN THAT YOU REALLY LOVE, 364 00:21:22,281 --> 00:21:26,701 WHEN, EMPTY, YOU FEEL IT WELLING UP AGAIN... 365 00:21:28,563 --> 00:21:33,083 AND THERE IT IS AND YOU CAN NEVER HAVE IT ALL 366 00:21:33,188 --> 00:21:36,918 AND YET WHAT THERE IS, NOW, YOU CAN HAVE, 367 00:21:37,088 --> 00:21:40,328 AND YOU WANT MORE AND MORE, TO HAVE, 368 00:21:40,471 --> 00:21:43,061 AND BE, AND LIVE IN, 369 00:21:43,232 --> 00:21:46,242 TO POSSESS NOW AGAIN FOR ALWAYS, 370 00:21:46,339 --> 00:21:50,719 FOR THAT LONG, SUDDEN-ENDED ALWAYS. 371 00:21:52,172 --> 00:21:55,212 I HAD LOVED COUNTRY ALL MY LIFE; 372 00:21:55,348 --> 00:21:58,208 THE COUNTRY WAS ALWAYS BETTER THAN THE PEOPLE. 373 00:21:58,351 --> 00:22:02,911 I COULD ONLY CARE ABOUT PEOPLE A VERY FEW AT A TIME. 374 00:22:05,634 --> 00:22:07,984 [DUKE ELLINGTON & BUBBER MILEY'S "THE NEW EAST ST. LOUIS TOODLE-O" PLAYING] 375 00:22:13,642 --> 00:22:16,162 NARRATOR: WHEN THE HEMINGWAYS RETURNED FROM AFRICA, 376 00:22:16,300 --> 00:22:18,270 THE UNITED STATES WAS ENTERING THE FIFTH YEAR 377 00:22:18,440 --> 00:22:20,300 OF THE GREAT DEPRESSION. 378 00:22:20,477 --> 00:22:24,447 FEW REGIONS HAD SUFFERED MORE THAN THE FLORIDA KEYS. 379 00:22:24,619 --> 00:22:27,969 KEY WEST ITSELF WAS OFFICIALLY BANKRUPT. 380 00:22:28,139 --> 00:22:32,489 8 OF 10 LOCAL RESIDENTS WERE ON RELIEF. 381 00:22:32,661 --> 00:22:36,181 PRESIDENT FRANKLIN ROOSEVELT'S EMERGENCY RELIEF ADMINISTRATION 382 00:22:36,320 --> 00:22:38,940 RESOLVED TO TRANSFORM THE DYING TOWN 383 00:22:39,116 --> 00:22:41,736 INTO A TOURIST ATTRACTION-- 384 00:22:41,877 --> 00:22:44,287 "THE BERMUDA OF FLORIDA." 385 00:22:45,329 --> 00:22:49,509 THE ONCE-SLEEPY STREETS SOON BUSTLED WITH VISITORS, 386 00:22:49,644 --> 00:22:51,234 THOUSANDS OF THEM. 387 00:22:51,370 --> 00:22:53,510 THEY WANDERED ONTO HEMINGWAY'S LAWN, 388 00:22:53,648 --> 00:22:57,068 PEERED IN THE WINDOWS, KNOCKED AT THE DOOR. 389 00:22:57,203 --> 00:22:58,833 TO KEEP THEM OUT, HE HAD A BRICK WALL 390 00:22:58,998 --> 00:23:01,758 BUILT AROUND HIS PROPERTY. 391 00:23:01,897 --> 00:23:03,137 [SHIP'S HORN BLOWING] 392 00:23:03,312 --> 00:23:05,212 TO GET AWAY-- AND GET IN MORE FISHING-- 393 00:23:05,349 --> 00:23:07,939 HE SAILED OFTEN TO HAVANA, CUBA-- 394 00:23:08,076 --> 00:23:11,696 SOME 100 MILES ACROSS THE STRAITS OF FLORIDA-- 395 00:23:11,838 --> 00:23:13,498 WHERE HE HOLED UP FOR WEEKS AT A TIME 396 00:23:13,668 --> 00:23:19,568 AT THE SEVILLA BILTMORE HOTEL IN THE HEART OF THE OLD CITY, 397 00:23:19,708 --> 00:23:22,778 WRITING IN THE MORNING, DRINKING IN THE AFTERNOONS 398 00:23:22,918 --> 00:23:26,368 AT HIS FAVORITE BAR, LA FLORIDITA. 399 00:23:31,789 --> 00:23:34,339 MAN AS HEMINGWAY: THE GULF STREAM AND THE OTHER GREAT OCEAN CURRENTS 400 00:23:34,447 --> 00:23:37,487 ARE THE LAST WILD COUNTRY THERE IS LEFT. 401 00:23:38,693 --> 00:23:41,453 ONCE YOU ARE OUT OF SIGHT OF LAND AND OF THE OTHER BOATS, 402 00:23:41,592 --> 00:23:44,462 YOU ARE MORE ALONE THAN YOU CAN EVER BE HUNTING 403 00:23:44,595 --> 00:23:47,935 AND THE SEA IS THE SAME AS IT HAS BEEN 404 00:23:48,081 --> 00:23:50,121 SINCE BEFORE MEN EVER WENT ON IT IN BOATS. 405 00:23:52,223 --> 00:23:53,543 NO ONE KNOWS WHAT FISH LIVE IN IT, 406 00:23:53,639 --> 00:23:57,439 OR HOW GREAT SIZE THEY REACH OR WHAT AGE. 407 00:23:57,574 --> 00:24:01,094 WHEN YOU ARE DRIFTING, OUT OF SIGHT OF LAND, 408 00:24:01,232 --> 00:24:08,242 FISHING 4 LINES, 60, 80, 100, AND 150 FATHOMS DOWN, 409 00:24:08,377 --> 00:24:11,477 IN WATER THAT IS 700 FATHOMS DEEP, 410 00:24:11,622 --> 00:24:13,902 YOU NEVER KNOW WHAT MAY TAKE THE SMALL TUNA 411 00:24:14,073 --> 00:24:16,323 THAT YOU USE FOR BAIT, AND EVERY TIME 412 00:24:16,455 --> 00:24:19,145 THE LINE STARTS TO RUN OFF THE REEL, 413 00:24:19,285 --> 00:24:22,735 SLOWLY FIRST, THEN WITH A SCREAM OF THE CLICK 414 00:24:22,909 --> 00:24:25,499 AS THE ROD BENDS AND YOU FEEL IT DOUBLE 415 00:24:25,636 --> 00:24:28,086 AND THE HUGE WEIGHT OF THE FRICTION OF THE LINE 416 00:24:28,190 --> 00:24:29,780 RUSHING THROUGH THAT DEPTH OF WATER 417 00:24:29,916 --> 00:24:36,266 WHILE YOU PUMP AND REEL, PUMP AND REEL, PUMP AND REEL, 418 00:24:36,405 --> 00:24:38,475 TRYING TO GET THE BELLY OUT OF THE LINE 419 00:24:38,615 --> 00:24:41,615 BEFORE THE FISH JUMPS, 420 00:24:41,721 --> 00:24:46,901 THERE IS ALWAYS A THRILL THAT NEEDS NO DANGER TO MAKE IT REAL. 421 00:24:49,626 --> 00:24:52,076 NARRATOR: HEMINGWAY HAD A 38-FOOT FISHING BOAT 422 00:24:52,249 --> 00:24:53,769 CUSTOM BUILT FOR HIMSELF-- 423 00:24:53,940 --> 00:24:55,600 "A STURDY BOAT," HE WROTE, 424 00:24:55,701 --> 00:24:57,811 "SWEET IN ANY KIND OF SEA." 425 00:24:57,944 --> 00:25:02,294 HE NAMED HER "PILAR," ONE OF HIS NICKNAMES FOR PAULINE, 426 00:25:02,397 --> 00:25:05,637 AND HE SPENT WEEKS SAILING THE WATERS OFF KEY WEST 427 00:25:05,780 --> 00:25:07,440 AND THE GULF STREAM OFF CUBA 428 00:25:07,540 --> 00:25:09,990 AND AROUND BIMINI IN THE BAHAMAS, 429 00:25:10,129 --> 00:25:13,479 IN SEARCH OF GOOD TIMES AND GIANT FISH. 430 00:25:13,581 --> 00:25:15,961 [GERARDO MART ÍNEZ'S "ROM ÁNTICA MUJER" PLAYING] 431 00:25:28,457 --> 00:25:31,977 PATRICK: THAT WAS SHEER HAPPINESS FOR HIM. 432 00:25:32,151 --> 00:25:36,221 I'VE ALWAYS THOUGHT THAT SEEING THE FISH COME 433 00:25:36,362 --> 00:25:40,712 IS LIKE SEEING A HUGE ELEPHANT OR A TIGER CERTAINLY 434 00:25:40,849 --> 00:25:43,019 EMERGE FROM THE SEA. 435 00:25:43,162 --> 00:25:44,472 YOU DON'T HAVE ANY WARNING. 436 00:25:44,646 --> 00:25:46,576 THEY'RE JUST SUDDENLY THERE, YOU KNOW. 437 00:25:46,717 --> 00:25:48,547 AND THAT...THAT I THINK 438 00:25:48,685 --> 00:25:51,515 WAS A THRILL THAT HE NEVER GOT ENOUGH OF. 439 00:25:54,587 --> 00:25:56,757 NARRATOR: MOST OF THE PASSENGERS ABOARD THE "PILAR" 440 00:25:56,900 --> 00:26:00,770 WERE OLD FRIENDS LIKE THE POET ARCHIBALD MACLEISH 441 00:26:00,904 --> 00:26:03,354 AND THE NOVELIST JOHN DOS PASSOS 442 00:26:03,458 --> 00:26:07,218 AND HEMINGWAY'S LONG-TIME EDITOR MAXWELL PERKINS. 443 00:26:07,358 --> 00:26:10,218 BUT THERE WERE OFTEN NEW PEOPLE ABOARD, TOO, 444 00:26:10,361 --> 00:26:12,611 YACHTSMEN AND BIG-GAME FISHERMEN, 445 00:26:12,743 --> 00:26:16,063 RICH MEN AND THEIR WIVES DRAWN TO AMERICA'S 446 00:26:16,195 --> 00:26:18,845 MOST CELEBRATED WRITER, AS WELL AS 447 00:26:18,956 --> 00:26:24,266 ARNOLD GINGRICH, EDITOR OF A NEW MEN'S MAGAZINE CALLED "ESQUIRE," 448 00:26:24,410 --> 00:26:27,210 WHO PAID HEMINGWAY HANDSOMELY FOR A NEW COLUMN 449 00:26:27,378 --> 00:26:30,138 ABOUT HUNTING AND FISHING AND ANYTHING ELSE 450 00:26:30,278 --> 00:26:32,658 THAT HAPPENED TO CROSS HIS MIND. 451 00:26:36,215 --> 00:26:38,975 WHEREVER HE WAS, WHATEVER HE WAS DOING, 452 00:26:39,114 --> 00:26:42,434 ALCOHOL FUELED EVERYTHING. 453 00:26:42,566 --> 00:26:44,426 MAN AS HEMINGWAY: I HAVE DRUNK SINCE I WAS 15 454 00:26:44,568 --> 00:26:48,118 AND FEW THINGS HAVE GIVEN ME MORE PLEASURE. 455 00:26:48,261 --> 00:26:50,331 WHEN YOU WORK HARD ALL DAY WITH YOUR HEAD 456 00:26:50,470 --> 00:26:52,780 AND KNOW YOU MUST WORK AGAIN THE NEXT DAY, 457 00:26:52,921 --> 00:26:55,131 WHAT ELSE CAN CHANGE YOUR IDEAS AND MAKE THEM 458 00:26:55,268 --> 00:26:58,058 RUN ON A DIFFERENT PLANE LIKE WHISKY? 459 00:26:58,237 --> 00:27:00,617 [SIDNEY BECHET'S "SOBBIN' AND CRYIN'" PLAYING] 460 00:27:00,757 --> 00:27:03,237 KARR: I BELIEVE THAT THE TERRIBLE THING ABOUT ALCOHOL, 461 00:27:03,414 --> 00:27:06,384 FOR WRITERS, IS THAT IT WORKS, AT FIRST. 462 00:27:06,555 --> 00:27:09,415 THAT IT WORKS GREAT. YOU'RE ANXIOUS. 463 00:27:09,524 --> 00:27:11,184 YOU'RE WOUND UP AT THE END OF THE DAY. 464 00:27:11,319 --> 00:27:13,179 YOU HAVE NO WAY TO CALM DOWN. 465 00:27:13,321 --> 00:27:15,881 YOU HAVE A FEW POPS AND YOU FEEL BETTER. 466 00:27:16,911 --> 00:27:19,401 NARRATOR: ONCE ON BIMINI, A WEALTHY YACHTSMAN, 467 00:27:19,499 --> 00:27:21,739 DRUNK AND BELLIGERENT, CALLED HEMINGWAY 468 00:27:21,916 --> 00:27:24,366 A "PHONY" AND A "BIG FAT SLOB." 469 00:27:24,504 --> 00:27:28,584 HEMINGWAY, JUST AS DRUNK, KNOCKED HIM COLD. 470 00:27:28,750 --> 00:27:31,480 WORD SPREAD FAST ACROSS THE ISLAND. 471 00:27:31,615 --> 00:27:34,575 "WHEN ANYONE IS TIGHT HERE OR FEELS DANGEROUS," 472 00:27:34,687 --> 00:27:36,137 HEMINGWAY TOLD A FRIEND, 473 00:27:36,275 --> 00:27:39,445 "THEY ASK ME TO FIGHT." 474 00:27:39,623 --> 00:27:43,353 HEMINGWAY LET IT BE KNOWN THAT HE WOULD PAY $250 475 00:27:43,489 --> 00:27:46,979 TO ANYONE WHO COULD STAY WITH HIM FOR 3 ROUNDS. 476 00:27:47,113 --> 00:27:50,193 NO ONE EVER CLAIMED THE MONEY. 477 00:27:50,323 --> 00:27:55,233 KARR: I THINK THE MASCULINITY MUST HAVE BEEN SO CONSTRICTING. 478 00:27:55,363 --> 00:27:57,333 HE'S DRAWN TO ALL THESE BIG, BUTCH THINGS, 479 00:27:57,468 --> 00:28:01,958 HE COULD HIT SOMEBODY AND THEY'D FEEL THE PUNCH, OR WHATEVER. 480 00:28:02,059 --> 00:28:04,539 IT DOES SEEM A LITTLE WEARYING. 481 00:28:06,029 --> 00:28:10,379 EDNA O'BRIEN: I THINK ORDINARY LIFE WAS ANATHEMA TO HIM. 482 00:28:11,862 --> 00:28:14,802 IT HAD TO BE A LIFE OF ADVENTURE 483 00:28:14,969 --> 00:28:19,489 AND THAT ADVENTURE WAS IN LIEU, IF THAT'S THE RIGHT WORD, 484 00:28:19,594 --> 00:28:24,704 OF A DEEP-SEATED LONELINESS AND DEPRESSION. 485 00:28:26,912 --> 00:28:30,672 MAN: HE HAS BECOME THE LEGENDARY HEMINGWAY. 486 00:28:30,812 --> 00:28:33,472 HE APPEARS TO HAVE TURNED INTO A COMPOSITE 487 00:28:33,573 --> 00:28:35,543 OF ALL THOSE PHOTOGRAPHS-- 488 00:28:35,679 --> 00:28:38,539 SUNBURNED FROM SNOWS, ON SKIS; 489 00:28:38,682 --> 00:28:42,512 IN FISHING GET-UP, BURNED DARK FROM THE HOT CARIBBEAN; 490 00:28:42,686 --> 00:28:45,476 THE HANDSOME, STALWART HUNTER CROUCHED SMILING 491 00:28:45,585 --> 00:28:48,925 OVER THE CARCASS OF SOME DEAD BEAST. 492 00:28:49,072 --> 00:28:52,632 SUCH A MAN COULD NOT HAVE WRITTEN HEMINGWAY'S EARLY BOOKS. 493 00:28:52,765 --> 00:28:56,035 IT IS HARD NOT TO WONDER WHETHER HE HAS NOT, HUNTING, 494 00:28:56,182 --> 00:28:58,842 BROUGHT DOWN AN EVEN GREATER VICTIM. 495 00:29:00,083 --> 00:29:01,333 "THE NEW REPUBLIC." 496 00:29:07,055 --> 00:29:09,775 MAN AS HEMINGWAY: NARRATIVE THAT IS EXCITING AND STILL IS LITERATURE 497 00:29:09,920 --> 00:29:11,850 IS VERY RARE. 498 00:29:12,026 --> 00:29:15,856 YOU HAVE TO MAKE THE COUNTRY, NOT DESCRIBE IT. 499 00:29:16,030 --> 00:29:19,270 IT IS AS HARD TO DO AS PAINT A CEZANNE-- 500 00:29:19,412 --> 00:29:22,212 AND I'M THE ONLY BASTARD RIGHT NOW WHO CAN DO IT. 501 00:29:24,314 --> 00:29:26,734 NARRATOR: IN 1935, HEMINGWAY PUBLISHED 502 00:29:26,868 --> 00:29:28,768 "GREEN HILLS OF AFRICA," 503 00:29:28,905 --> 00:29:31,315 A NONFICTION ACCOUNT OF HIS SAFARI, 504 00:29:31,459 --> 00:29:35,389 IN WHICH HE WAS AGAIN THE CENTRAL CHARACTER. 505 00:29:35,497 --> 00:29:37,087 THE BOOK IS THE SUSPENSEFUL STORY 506 00:29:37,223 --> 00:29:40,783 OF HIS MONTH-LONG COMPETITION WITH HIS HUNTING COMPANION 507 00:29:40,917 --> 00:29:44,747 TO KILL THE GREATER KUDU WITH THE LONGEST HORNS. 508 00:29:44,852 --> 00:29:47,162 [BACH'S "PARTITIA FOR SOLO VIOLIN NO.1 IN B MINOR V SARABANDE VARIATION 1" PLAYING] 509 00:29:47,302 --> 00:29:48,822 MAN AS HEMINGWAY: I LOOKED AT HIM, 510 00:29:48,959 --> 00:29:50,649 BIG, LONG-LEGGED, 511 00:29:50,789 --> 00:29:52,719 A SMOOTH GRAY WITH THE WHITE STRIPES 512 00:29:52,894 --> 00:29:55,594 AND THE GREAT, CURLING, SWEEPING HORNS, 513 00:29:55,690 --> 00:29:59,590 BROWN AS WALNUT MEATS, AND IVORY POINTED, 514 00:29:59,763 --> 00:30:03,663 AT THE BIG EARS AND THE GREAT, LOVELY, HEAVY-MANED NECK, 515 00:30:03,802 --> 00:30:06,182 THE WHITE CHEVRON BETWEEN HIS EYES 516 00:30:06,321 --> 00:30:08,631 AND THE WHITE OF HIS MUZZLE, 517 00:30:08,772 --> 00:30:10,742 AND I STOOPED OVER AND TOUCHED HIM 518 00:30:10,912 --> 00:30:12,332 TO TRY TO BELIEVE IT. 519 00:30:12,465 --> 00:30:13,945 [DAVID CIERI'S "DUST RISING" PLAYING] 520 00:30:14,088 --> 00:30:16,258 NARRATOR: IN THE BOOK, HE PORTRAYED HIMSELF AS BOTH 521 00:30:16,366 --> 00:30:20,716 AN EXPERT ON EVERYTHING AND A BAD LOSER. 522 00:30:20,853 --> 00:30:23,863 HE COMPLAINED ABOUT WHAT HEEDLESS AMERICANS HAD DONE 523 00:30:23,994 --> 00:30:26,514 TO SPOIL THEIR OWN LANDSCAPE 524 00:30:26,652 --> 00:30:28,792 AND WAS ALSO GIVEN TO PONTIFICATING 525 00:30:28,930 --> 00:30:32,620 ON WHICH AMERICAN WRITERS WERE WORTH READING. 526 00:30:33,935 --> 00:30:36,655 "ALL MODERN AMERICAN LITERATURE," HE DECLARED, 527 00:30:36,800 --> 00:30:39,530 "COMES FROM ONE BOOK BY MARK TWAIN 528 00:30:39,665 --> 00:30:42,285 CALLED "HUCKLEBERRY FINN."" 529 00:30:43,980 --> 00:30:46,980 HEMINGWAY WAS ESPECIALLY PROUD OF HIS NEW BOOK. 530 00:30:47,121 --> 00:30:49,361 BUT IN IT, HE HAD CALLED CRITICS 531 00:30:49,502 --> 00:30:52,992 "THE LICE WHO CRAWL ON LITERATURE." 532 00:30:53,127 --> 00:30:55,127 THE LICE BIT BACK. 533 00:30:55,301 --> 00:30:58,551 JOHN CHAMBERLAIN DISMISSED THE BOOK IN "THE NEW YORK TIMES" 534 00:30:58,684 --> 00:31:02,554 AS "ALL ATTITUDE, ALL BYRONIC POSTURING." 535 00:31:02,688 --> 00:31:04,408 BERNARD DE VOTO CALLED IT 536 00:31:04,552 --> 00:31:08,352 "A PRETTY SMALL BOOK FOR A BIG MAN TO WRITE." 537 00:31:10,178 --> 00:31:11,278 THE MOST DISAPPOINTING REVIEW 538 00:31:11,455 --> 00:31:12,455 CAME FROM AMERICA'S 539 00:31:12,629 --> 00:31:14,219 MOST ADMIRED CRITIC, 540 00:31:14,355 --> 00:31:15,625 EDMUND WILSON, 541 00:31:15,735 --> 00:31:17,975 AN EARLY CHAMPION OF HEMINGWAY'S WORK, 542 00:31:18,152 --> 00:31:21,812 WHO WROTE, "SOMETHING FRIGHTFUL SEEMS TO HAPPEN TO HEMINGWAY 543 00:31:21,983 --> 00:31:25,233 "AS SOON AS HE BEGINS TO WRITE IN THE FIRST PERSON. 544 00:31:25,366 --> 00:31:29,266 "HE SEEMS TO LOSE ALL HIS CAPACITY FOR SELF-CRITICISM 545 00:31:29,404 --> 00:31:31,964 AND HAS A WAY OF SOUNDING SILLY." 546 00:31:33,477 --> 00:31:36,237 HEMINGWAY TOOK IT HARD. 547 00:31:36,377 --> 00:31:37,517 MAN AS HEMINGWAY: TOOK TO GETTING UP ABOUT 548 00:31:37,654 --> 00:31:39,864 TWO OR SO IN THE MORNING 549 00:31:40,001 --> 00:31:42,761 AND GOING OUT TO THE LITTLE HOUSE TO WORK. 550 00:31:44,040 --> 00:31:47,110 HAD NEVER HAD THE REAL OLD MELANCHOLIA BEFORE 551 00:31:47,250 --> 00:31:52,120 AND AM GLAD TO HAVE HAD IT SO I KNOW WHAT PEOPLE GO THROUGH. 552 00:31:52,255 --> 00:31:56,735 IT MAKES ME MORE TOLERANT OF WHAT HAPPENED TO MY FATHER. 553 00:31:58,054 --> 00:32:01,784 NARRATOR: ERNEST AND PAULINE HAD BEEN MOST HAPPY IN AFRICA, 554 00:32:01,920 --> 00:32:06,860 BUT BACK HOME HE WAS GROWING INCREASINGLY DISSATISFIED. 555 00:32:07,028 --> 00:32:10,268 HE WAS GRATEFUL FOR THE PFEIFFER FAMILY'S GENEROSITY 556 00:32:10,411 --> 00:32:14,901 BUT HE ALSO FOUND HIS FREQUENT RELIANCE ON IT DEMEANING. 557 00:32:15,934 --> 00:32:20,284 AND HE HAD SECRETLY BEGUN TO WEARY OF PAULINE, TOO. 558 00:32:22,561 --> 00:32:23,731 "GREEN HILLS OF AFRICA" MAY NOT HAVE BEEN 559 00:32:23,872 --> 00:32:26,742 A CRITICAL OR COMMERCIAL SUCCESS, 560 00:32:26,875 --> 00:32:29,775 BUT HIS TIME IN AFRICA WOULD ALSO INSPIRE 561 00:32:29,913 --> 00:32:32,813 TWO OF HIS BEST-REMEMBERED SHORT STORIES, 562 00:32:32,951 --> 00:32:37,471 EACH OF WHICH CHARTS THE DISINTEGRATION OF A MARRIAGE. 563 00:32:40,061 --> 00:32:43,001 THE FIRST STORY, PUBLISHED IN "COSMOPOLITAN," 564 00:32:43,133 --> 00:32:47,073 WAS "THE SHORT HAPPY LIFE OF FRANCIS MACOMBER." 565 00:32:47,241 --> 00:32:52,071 FRANCIS AND MARGOT MACOMBER ARE WEALTHY AMERICANS ON SAFARI. 566 00:32:52,177 --> 00:32:56,767 "THEY HAD A SOUND BASIS OF UNION," HEMINGWAY WROTE. 567 00:32:56,871 --> 00:33:00,121 "MARGOT WAS TOO BEAUTIFUL FOR MACOMBER TO DIVORCE 568 00:33:00,288 --> 00:33:04,978 AND MACOMBER HAD TOO MUCH MONEY FOR MARGOT EVER TO LEAVE HIM." 569 00:33:05,121 --> 00:33:09,091 BUT HER HUSBAND'S MONEY HAD NOT KEPT HER FAITHFUL TO HIM 570 00:33:09,263 --> 00:33:12,823 AND WHEN HE PANICS WHEN FACED WITH A CHARGING LION, 571 00:33:12,956 --> 00:33:15,266 SHE DENOUNCES HIM AS A COWARD-- 572 00:33:15,372 --> 00:33:16,822 AND SLEEPS WITH THEIR GUIDE, 573 00:33:16,960 --> 00:33:19,930 THE WHITE HUNTER ROBERT WILSON. 574 00:33:22,793 --> 00:33:23,973 MAN AS HEMINGWAY: HE REALIZED THAT HIS WIFE 575 00:33:24,105 --> 00:33:26,655 WAS NOT IN THE OTHER COT IN THE TENT. 576 00:33:26,797 --> 00:33:29,837 HE LAY AWAKE WITH THAT KNOWLEDGE FOR TWO HOURS. 577 00:33:31,112 --> 00:33:33,872 AT THE END OF THAT TIME, HIS WIFE CAME INTO THE TENT, 578 00:33:34,012 --> 00:33:38,152 LIFTED HER MOSQUITO BAR, AND CRAWLED COZILY INTO BED. 579 00:33:39,189 --> 00:33:42,779 "WHERE HAVE YOU BEEN?" MACOMBER ASKED IN THE DARKNESS. 580 00:33:42,882 --> 00:33:46,992 "HELLO," SHE SAID. "ARE YOU AWAKE?" 581 00:33:47,128 --> 00:33:48,788 "WHERE HAVE YOU BEEN?" 582 00:33:50,028 --> 00:33:52,478 "I JUST WENT OUT TO GET A BREATH OF AIR." 583 00:33:52,616 --> 00:33:54,516 "YOU DID, LIKE HELL." 584 00:33:55,895 --> 00:33:58,445 "WHAT DO YOU WANT ME TO SAY, DARLING?" 585 00:33:58,622 --> 00:34:00,382 "WHERE HAVE YOU BEEN?" 586 00:34:01,832 --> 00:34:03,802 "OUT TO GET A BREATH OF AIR." 587 00:34:05,560 --> 00:34:09,740 "THAT'S A NEW NAME FOR IT. YOU ARE A BITCH." 588 00:34:11,152 --> 00:34:12,842 "WELL, YOU'RE A COWARD." 589 00:34:17,089 --> 00:34:18,749 VERGHESE: THE MAN STARTS OFF AS BEING PORTRAYED 590 00:34:18,884 --> 00:34:22,514 AS A SHAMELESS COWARD BUT FRANKLY, 591 00:34:22,612 --> 00:34:24,272 WHICH OF US WOULDN'T TAKE OFF RUNNING 592 00:34:24,407 --> 00:34:26,927 WHEN YOU SEE A LION [LAUGHS] COMING CHARGING AT YOU? 593 00:34:27,065 --> 00:34:28,645 I MEAN, EVEN IF I HAD A GUN IN MY HAND, 594 00:34:28,756 --> 00:34:30,646 I THINK I WOULD, IT WOULD TAKE 595 00:34:30,827 --> 00:34:32,687 AN EXTRAORDINARY ACT OF WILL 596 00:34:32,794 --> 00:34:34,934 TO STAND THERE AND SHOOT THIS LION. 597 00:34:35,073 --> 00:34:38,183 AND YET HE'S PORTRAYED AS THIS SHAMELESS COWARD 598 00:34:38,352 --> 00:34:39,842 AND YOU WONDER HOW THE STORY'S GOING TO END 599 00:34:40,008 --> 00:34:43,118 AND YOU ACTUALLY FEEL FOR HIM, 600 00:34:43,253 --> 00:34:46,573 AND THEN HE'S ALSO BEING BETRAYED BY HIS WIFE. 601 00:34:47,982 --> 00:34:50,542 EDNA O'BRIEN: AND, CERTAINLY, THE WOMAN IN THAT STORY 602 00:34:50,640 --> 00:34:52,540 COMES OUT AS A MONSTER. 603 00:34:53,781 --> 00:34:55,471 HEMINGWAY KNEW A LOT OF WOMEN LIKE THAT; 604 00:34:55,610 --> 00:34:57,410 THERE ARE A LOT OF WOMEN LIKE THAT. 605 00:34:57,543 --> 00:34:59,793 THERE ARE A LOT OF MEN LIKE THAT. 606 00:34:59,925 --> 00:35:02,095 THERE'S NOTHING I WOULD CHANGE IN THAT STORY 607 00:35:02,238 --> 00:35:04,548 BECAUSE HE KNEW WHEN TO PULL BACK. 608 00:35:04,654 --> 00:35:06,934 HE KNEW HOW MUCH OF HER FALSENESS, 609 00:35:07,070 --> 00:35:11,180 HOW MUCH OF HER ACIDITY TO PUT ON THE PAGE. 610 00:35:12,455 --> 00:35:14,105 IT'S A VERY BITTER STORY. 611 00:35:15,596 --> 00:35:17,246 VERGHESE: BUT AT THE END OF THE STORY, HE FINDS 612 00:35:17,391 --> 00:35:19,981 A DIFFERENT KIND OF COURAGE. 613 00:35:20,118 --> 00:35:22,778 IT HAS TO DO WITH STANDING UP TO HIS WIFE. 614 00:35:22,913 --> 00:35:25,573 AND IT TERRIFIES HER. 615 00:35:25,675 --> 00:35:29,815 NARRATOR: THE NEXT DAY, WHEN A WOUNDED BUFFALO CHARGES HIM, 616 00:35:29,955 --> 00:35:32,885 MACOMBER STANDS HIS GROUND. 617 00:35:34,062 --> 00:35:35,552 MAN AS HEMINGWAY: WILSON, WHO WAS AHEAD, 618 00:35:35,719 --> 00:35:37,579 WAS KNEELING SHOOTING, 619 00:35:37,756 --> 00:35:39,336 AND MACOMBER, AS HE FIRED, 620 00:35:39,482 --> 00:35:42,932 UNHEARING HIS SHOT IN THE ROARING OF WILSON'S GUN, 621 00:35:43,106 --> 00:35:48,146 SAW FRAGMENTS LIKE SLATE BURST FROM THE HUGE BOSS OF THE HORNS, 622 00:35:48,284 --> 00:35:52,124 AND THE HEAD JERKED, HE SHOT AGAIN AT THE WIDE NOSTRILS 623 00:35:52,253 --> 00:35:56,293 AND SAW THE HORNS JOLT AGAIN AND FRAGMENTS FLY, 624 00:35:56,430 --> 00:35:59,990 AND HE DID NOT SEE WILSON NOW AND, AIMING CAREFULLY, 625 00:36:00,123 --> 00:36:03,203 SHOT AGAIN WITH THE BUFFALO'S HUGE BULK ALMOST ON HIM 626 00:36:03,333 --> 00:36:08,863 AND HIS RIFLE ALMOST LEVEL WITH THE ON-COMING HEAD, NOSE OUT, 627 00:36:08,994 --> 00:36:10,694 AND HE COULD SEE THE LITTLE WICKED EYES 628 00:36:10,823 --> 00:36:15,793 AND THE HEAD STARTED TO LOWER AND HE FELT A SUDDEN WHITE-HOT, 629 00:36:15,966 --> 00:36:20,006 BLINDING FLASH EXPLODE INSIDE HIS HEAD... 630 00:36:22,145 --> 00:36:24,245 AND THAT WAS ALL HE EVER FELT. 631 00:36:26,805 --> 00:36:28,665 NARRATOR: HIS WIFE HAS SHOT HIM. 632 00:36:28,807 --> 00:36:31,047 SHE SAID IT WAS AN ACCIDENT. 633 00:36:32,155 --> 00:36:34,705 VERGHESE: I'M A BIG BELIEVER THAT, YOU KNOW, 634 00:36:34,847 --> 00:36:36,847 THE PROCESS OF READING FICTION AS THE WRITER 635 00:36:36,987 --> 00:36:39,367 PROVIDES YOU SOME OF THE WORDS, 636 00:36:39,507 --> 00:36:41,027 BUT YOU PROVIDE YOUR IMAGINATION. 637 00:36:41,164 --> 00:36:43,894 AND THE GREAT PLEASURE IS THAT YOU'RE MAKING THIS MOVIE 638 00:36:44,029 --> 00:36:46,859 AND...AH...IT'S ALWAYS STRIKING HOW DIFFERENT 639 00:36:46,997 --> 00:36:49,547 OUR MOVIES ARE AS READERS...AH...SO, 640 00:36:49,690 --> 00:36:51,550 IN MY MIND, THERE'S NO QUESTION 641 00:36:51,692 --> 00:36:53,312 THAT SHE BLEW HIS HEAD OFF. 642 00:36:53,487 --> 00:36:55,657 I HAVE NO DOUBT ABOUT THAT. 643 00:36:58,561 --> 00:37:00,841 NARRATOR: THE SECOND OF HIS AFRICAN SHORT STORIES, 644 00:37:00,942 --> 00:37:04,772 PUBLISHED IN "ESQUIRE," WAS A MASTERPIECE. 645 00:37:04,912 --> 00:37:07,672 IN "THE SNOWS OF KILIMANJARO," THE ROLES OF 646 00:37:07,846 --> 00:37:10,876 HUSBAND AND WIFE ARE REVERSED. 647 00:37:12,057 --> 00:37:16,057 THE PROTAGONIST IS HARRY WALDEN, A WRITER ON SAFARI, 648 00:37:16,199 --> 00:37:19,789 DYING OF GANGRENE IN HIS TENT. 649 00:37:19,927 --> 00:37:22,097 AS HE DRIFTS IN AND OUT OF CONSCIOUSNESS, 650 00:37:22,240 --> 00:37:24,380 HE TALKS WITH HIS WEALTHY WIFE, 651 00:37:24,518 --> 00:37:27,758 WHOSE FORTUNE SUPPORTS THEM AND WHO LOVES HIM, 652 00:37:27,900 --> 00:37:31,110 BUT WHOM HE SECRETLY NO LONGER LOVES. 653 00:37:31,249 --> 00:37:34,009 HE MUSES ABOUT THE EVENTS HE HAS LIVED THROUGH 654 00:37:34,113 --> 00:37:36,813 BUT FAILED TO WRITE ABOUT, 655 00:37:36,944 --> 00:37:40,914 AND NOW, WILL NOT LIVE TO TURN INTO FICTION. 656 00:37:41,051 --> 00:37:44,121 AT FIRST, HE BLAMES HIS WIFE. 657 00:37:45,642 --> 00:37:46,922 MAN AS HEMINGWAY: NONSENSE. 658 00:37:47,057 --> 00:37:49,467 HE HAD DESTROYED HIS TALENT HIMSELF. 659 00:37:49,612 --> 00:37:53,242 WHY SHOULD HE BLAME THIS WOMAN BECAUSE SHE KEPT HIM WELL? 660 00:37:53,374 --> 00:37:56,414 HE HAD DESTROYED HIS TALENT BY NOT USING IT, 661 00:37:56,550 --> 00:38:01,070 BY BETRAYALS OF HIMSELF AND WHAT HE BELIEVED IN, 662 00:38:01,209 --> 00:38:02,999 BY DRINKING SO MUCH THAT HE BLUNTED 663 00:38:03,142 --> 00:38:07,632 THE EDGE OF HIS PERCEPTIONS, BY LAZINESS, 664 00:38:07,768 --> 00:38:10,698 BY SLOTH, AND BY SNOBBERY. 665 00:38:12,048 --> 00:38:14,808 HE HAD SEEN THE WORLD CHANGE. 666 00:38:14,947 --> 00:38:17,047 HE HAD BEEN IN IT AND HE HAD WATCHED IT 667 00:38:17,225 --> 00:38:19,985 AND IT WAS HIS DUTY TO WRITE OF IT; 668 00:38:20,125 --> 00:38:22,155 BUT NOW HE NEVER WOULD. 669 00:38:25,095 --> 00:38:27,195 TIM O'BRIEN: "THE SNOWS OF KILIMANJARO" IS AMONG 670 00:38:27,339 --> 00:38:30,409 MY FAVORITE STORIES OF HEMINGWAY, MAYBE MY FAVORITE. 671 00:38:30,515 --> 00:38:33,345 IT DEALS WITH WHAT WE'RE ALL GOING TO HAVE TO DEAL WITH, 672 00:38:33,483 --> 00:38:36,763 WHICH IS OUR OWN DEATHS. AND, THROUGHOUT IT, 673 00:38:36,900 --> 00:38:40,590 HE'S REVIEWING HIS LIFE. 674 00:38:40,697 --> 00:38:43,357 MUCH AS I NOW, IN MY OLD AGE, 675 00:38:43,493 --> 00:38:45,463 MORE AND MORE AT TWO IN THE MORNING, 676 00:38:45,599 --> 00:38:47,599 REVIEW MY OWN LIFE. 677 00:38:47,704 --> 00:38:49,674 SOMETIMES, FULL OF SELF-HATRED 678 00:38:49,810 --> 00:38:52,160 AND SOMETIMES, FULL OF JOY. 679 00:38:53,538 --> 00:38:58,158 MOST OFTEN, FILLED WITH DOUBT OF, UH, 680 00:38:58,301 --> 00:39:01,271 WHAT, WHAT COULD I HAVE DONE DIFFERENTLY? 681 00:39:01,442 --> 00:39:03,272 [JOHNNY GANDELSMAN'S "LA DESPEDIDA MIX 1" PLAYING] 682 00:39:03,375 --> 00:39:05,265 MAN AS HEMINGWAY: JUST THEN, DEATH HAD COME 683 00:39:05,446 --> 00:39:08,036 AND RESTED ITS HEAD ON THE FOOT OF THE COT 684 00:39:08,173 --> 00:39:10,213 AND HE COULD SMELL ITS BREATH. 685 00:39:11,728 --> 00:39:13,318 IT MOVED UP CLOSER TO HIM STILL 686 00:39:13,454 --> 00:39:16,154 AND NOW HE COULD NOT SPEAK TO IT, 687 00:39:16,250 --> 00:39:20,360 AND WHEN IT SAW HE COULD NOT SPEAK IT CAME A LITTLE CLOSER, 688 00:39:20,496 --> 00:39:23,496 AND NOW HE TRIED TO SEND IT AWAY WITHOUT SPEAKING, 689 00:39:23,637 --> 00:39:29,057 BUT IT MOVED IN ON HIM SO ITS WEIGHT WAS ALL UPON HIS CHEST, 690 00:39:29,194 --> 00:39:33,474 AND WHILE IT CROUCHED THERE AND HE COULD NOT MOVE, OR SPEAK, 691 00:39:33,578 --> 00:39:37,718 HE HEARD THE WOMAN SAY, "BWANA IS ASLEEP NOW. 692 00:39:37,858 --> 00:39:42,028 TAKE THE COT UP VERY GENTLY AND CARRY IT INTO THE TENT." 693 00:39:43,415 --> 00:39:46,375 HE COULD NOT SPEAK TO TELL HER TO MAKE IT GO AWAY 694 00:39:46,522 --> 00:39:51,392 AND IT CROUCHED NOW, HEAVIER, SO HE COULD NOT BREATHE. 695 00:39:53,252 --> 00:39:56,362 AND THEN, WHILE THEY LIFTED THE COT, 696 00:39:56,497 --> 00:39:58,087 SUDDENLY IT WAS ALL RIGHT 697 00:39:58,223 --> 00:40:00,983 AND THE WEIGHT WENT FROM HIS CHEST. 698 00:40:04,574 --> 00:40:06,994 [WOODY GUTHRIE'S "I AIN'T GOT NO HOME" PLAYING] 699 00:40:08,267 --> 00:40:09,857 ♪ MY BROTHERS AND MY SISTERS 700 00:40:10,028 --> 00:40:11,718 ♪ ARE STRANDED ON THIS ROAD ♪ 701 00:40:11,857 --> 00:40:17,137 ♪ A HOT AND DUSTY ROAD THAT A MILLION FEET HAVE TROD ♪ 702 00:40:17,276 --> 00:40:20,896 ♪ RICH MAN TOOK MY HOME AND DROVE ME FROM MY DOOR ♪ 703 00:40:21,039 --> 00:40:27,429 ♪ AND I AIN'T GOT NO HOME IN THIS WORLD ANYMORE ♪ 704 00:40:27,563 --> 00:40:30,083 NARRATOR: THE DEPRESSION HAD CONTINUED TO DEEPEN 705 00:40:30,220 --> 00:40:32,570 AND A NEW GENERATION OF SOCIALLY CONSCIOUS 706 00:40:32,706 --> 00:40:37,496 LEFTIST WRITERS AND CRITICS NOW DENOUNCED HEMINGWAY. 707 00:40:38,574 --> 00:40:40,894 RATHER THAN FRITTER AWAY HIS TIME WRITING ABOUT 708 00:40:41,024 --> 00:40:42,544 DRUNKEN EXPATRIATES 709 00:40:42,647 --> 00:40:45,437 AND DISILLUSIONED SURVIVORS OF THE GREAT WAR, 710 00:40:45,581 --> 00:40:48,031 ABOUT BULLFIGHTS AND BIG-GAME HUNTING 711 00:40:48,204 --> 00:40:50,074 AND DEEP-SEA FISHING, 712 00:40:50,171 --> 00:40:52,621 THEY INSISTED IT WAS HIS DUTY AS AN ARTIST 713 00:40:52,760 --> 00:40:56,870 TO DECLARE HIS SOLIDARITY WITH THE WORKING CLASS. 714 00:40:57,938 --> 00:40:59,938 GRANVILLE HICKS, EDITOR OF THE COMMUNIST 715 00:41:00,078 --> 00:41:02,428 "NEW MASSES" MAGAZINE," DECLARED, 716 00:41:02,563 --> 00:41:05,773 "IN 6 YEARS, HEMINGWAY HAS NOT PRODUCED A BOOK 717 00:41:05,911 --> 00:41:09,161 EVEN REMOTELY WORTHY OF HIS TALENTS." 718 00:41:10,157 --> 00:41:11,637 HEMINGWAY WAS UNMOVED. 719 00:41:11,779 --> 00:41:15,229 "THERE IS NO LEFT OR RIGHT IN WRITING," HE SAID. 720 00:41:15,334 --> 00:41:18,964 "THERE IS ONLY GOOD AND BAD WRITING." 721 00:41:20,201 --> 00:41:21,861 MAN AS HEMINGWAY: EVERYONE TRIES TO FRIGHTEN YOU NOW 722 00:41:21,996 --> 00:41:25,656 BY SAYING OR WRITING THAT IF ONE DOES NOT BECOME A COMMUNIST 723 00:41:25,793 --> 00:41:27,593 OR HAVE A MARXIAN VIEWPOINT, 724 00:41:27,761 --> 00:41:30,941 ONE WILL HAVE NO FRIENDS AND WILL BE ALONE. 725 00:41:31,040 --> 00:41:34,530 THEY SEEM TO THINK THAT TO BE ALONE IS SOMETHING DREADFUL; 726 00:41:34,664 --> 00:41:38,014 OR THAT TO NOT HAVE FRIENDS IS TO BE FEARED. 727 00:41:38,150 --> 00:41:40,260 I WOULD RATHER HAVE ONE HONEST ENEMY 728 00:41:40,428 --> 00:41:43,288 THAN MOST OF THE FRIENDS THAT I HAVE KNOWN. 729 00:41:43,431 --> 00:41:45,051 I CANNOT BE A COMMUNIST NOW 730 00:41:45,192 --> 00:41:49,022 BECAUSE I BELIEVE IN ONLY ONE THING: LIBERTY. 731 00:41:49,161 --> 00:41:52,341 FIRST I WOULD LOOK AFTER MYSELF AND DO MY WORK. 732 00:41:52,475 --> 00:41:54,885 THEN I WOULD CARE FOR MY FAMILY. 733 00:41:55,029 --> 00:41:57,269 THEN I WOULD HELP MY NEIGHBOR. 734 00:41:57,376 --> 00:41:59,826 BUT THE STATE I CARE NOTHING FOR. 735 00:41:59,965 --> 00:42:04,415 ALL THE STATE HAS EVER MEANT TO ME IS UNJUST TAXATION. 736 00:42:04,556 --> 00:42:08,346 I BELIEVE IN THE ABSOLUTE MINIMUM OF GOVERNMENT. 737 00:42:11,321 --> 00:42:14,981 NARRATOR: ON LABOR DAY 1935, ONE OF THE MOST INTENSE 738 00:42:15,084 --> 00:42:18,744 HURRICANES IN AMERICAN HISTORY HIT FLORIDA 739 00:42:18,881 --> 00:42:24,231 WITH WINDS SAID TO HAVE GUSTED AT MORE THAN 185 MILES PER HOUR. 740 00:42:24,369 --> 00:42:29,649 AN 18-FOOT STORM SURGE DROWNED ISLAND AFTER ISLAND. 741 00:42:32,929 --> 00:42:35,039 MORE THAN 400 PEOPLE DIED-- 742 00:42:35,173 --> 00:42:39,703 AMONG THEM 259 HOMELESS VETERANS OF THE GREAT WAR 743 00:42:39,833 --> 00:42:42,843 WHO HAD BEEN SENT SOUTH BY THE ROOSEVELT ADMINISTRATION 744 00:42:43,008 --> 00:42:46,938 TO BUILD HIGHWAY BRIDGES TO BRING STILL MORE VISITORS 745 00:42:47,081 --> 00:42:49,191 TO THE FLORIDA KEYS. 746 00:42:50,360 --> 00:42:51,850 SOME OF THEM HAD BEEN DRINKING BUDDIES WITH WHOM 747 00:42:52,017 --> 00:42:56,707 HEMINGWAY HAD SWAPPED WAR STORIES AT SLOPPY JOE'S. 748 00:42:56,815 --> 00:43:01,195 TWO DAYS LATER, HE SAILED NORTH TO WHAT WAS LEFT OF THEIR CAMP 749 00:43:01,302 --> 00:43:06,172 AND JOINED SOME 200 VOLUNTEERS GATHERING UP THE DEAD. 750 00:43:06,342 --> 00:43:08,172 HE BROUGHT A CAMERA. 751 00:43:08,275 --> 00:43:10,065 [CAMERA'S SHUTTER CLICKS] 752 00:43:10,208 --> 00:43:11,868 MAN AS HEMINGWAY: YOU COULD FIND THEM FACE DOWN 753 00:43:11,968 --> 00:43:15,138 AND FACE UP IN THE MANGROVES. 754 00:43:15,282 --> 00:43:17,462 THE BIGGEST BUNCH OF THE DEAD WERE IN THE TANGLED, 755 00:43:17,595 --> 00:43:20,075 ALWAYS GREEN BUT NOW BROWN, MANGROVES 756 00:43:20,218 --> 00:43:22,908 BEHIND THE TANK CARS AND THE WATER TOWERS. 757 00:43:23,877 --> 00:43:27,567 [CAMERA'S SHUTTER CLICKS] THEY HUNG ON THERE, IN SHELTER, 758 00:43:27,743 --> 00:43:31,643 UNTIL THE WIND AND THE RISING WATER CARRIED THEM AWAY. 759 00:43:31,781 --> 00:43:34,161 [CAMERA'S SHUTTER CLICKS] THEY DIDN'T ALL LET GO AT ONCE 760 00:43:34,301 --> 00:43:37,341 BUT ONLY WHEN THEY COULD HOLD ON NO LONGER. 761 00:43:37,476 --> 00:43:39,546 [CAMERA'S SHUTTER CLICKS] THEN FURTHER ON, YOU FOUND THEM 762 00:43:39,720 --> 00:43:42,930 HIGH IN THE TREES WHERE THE WATER HAD SWEPT THEM. 763 00:43:43,068 --> 00:43:47,248 [CAMERA'S SHUTTER CLICKS] YOU FOUND THEM EVERYWHERE AND IN THE SUN, 764 00:43:47,383 --> 00:43:48,663 ALL OF THEM WERE BEGINNING TO BE 765 00:43:48,798 --> 00:43:51,418 TOO BIG FOR THEIR BLUE JEANS AND JACKETS 766 00:43:51,559 --> 00:43:54,249 THAT THEY COULD NEVER FILL WHEN THEY WERE 767 00:43:54,390 --> 00:43:56,460 ON THE BUM AND HUNGRY. 768 00:43:58,808 --> 00:44:01,598 NARRATOR: HEMINGWAY WAS SO ANGERED AT WHAT HE'D SEEN 769 00:44:01,742 --> 00:44:03,262 THAT DESPITE THE SCORN 770 00:44:03,364 --> 00:44:05,504 "NEW MASSES" HAD SHOWN TOWARD HIM, 771 00:44:05,643 --> 00:44:08,023 WHEN ITS EDITOR ASKED HIM TO WRITE ABOUT IT, 772 00:44:08,162 --> 00:44:10,302 HE AGREED TO DO IT. 773 00:44:10,440 --> 00:44:14,580 HE HELD THE ROOSEVELT ADMINISTRATION RESPONSIBLE. 774 00:44:15,894 --> 00:44:18,484 MAN AS HEMINGWAY: I WOULD LIKE TO MAKE WHOEVER SENT THEM THERE 775 00:44:18,621 --> 00:44:21,311 CARRY JUST ONE OUT THROUGH THE MANGROVES, 776 00:44:21,451 --> 00:44:25,211 OR TURN ONE OVER THAT LAY IN THE SUN ALONG THE FILL, 777 00:44:25,352 --> 00:44:28,362 OR TIE 5 TOGETHER SO THEY WON'T FLOAT OUT, 778 00:44:28,493 --> 00:44:30,013 OR SMELL THAT SMELL YOU THOUGHT 779 00:44:30,150 --> 00:44:33,500 YOU'D NEVER SMELL AGAIN, WITH LUCK. 780 00:44:34,948 --> 00:44:37,298 NARRATOR: LEFTIST WRITERS NOW PRAISED HEMINGWAY'S 781 00:44:37,467 --> 00:44:40,467 NEW-FOUND EMPATHY FOR THE PROLETARIAT: 782 00:44:40,574 --> 00:44:44,034 LINCOLN STEFFENS CONGRATULATED HIM FOR AT LAST CHOOSING 783 00:44:44,164 --> 00:44:48,344 TO WRITE FOR "THE REAL PEOPLE OF THE REAL PUBLICATIONS." 784 00:44:48,478 --> 00:44:51,098 [DUKE ELLINGTON & BUBBER MILEY'S "THE NEW EAST ST. LOUIS TOODLE-O" PLAYING] 785 00:45:16,817 --> 00:45:18,337 MAN AS HEMINGWAY: SOME MADE THE LONG DROP 786 00:45:18,508 --> 00:45:20,718 FROM THE APARTMENT OR THE OFFICE WINDOW; 787 00:45:21,926 --> 00:45:24,376 SOME TOOK IT QUIETLY IN TWO-CAR GARAGES 788 00:45:24,514 --> 00:45:26,074 WITH THE MOTOR RUNNING; 789 00:45:28,380 --> 00:45:29,420 SOME USED THE NATIVE TRADITION 790 00:45:29,554 --> 00:45:32,704 OF THE COLT OR SMITH AND WESSON; 791 00:45:32,799 --> 00:45:36,529 THOSE WELL-CONSTRUCTED IMPLEMENTS THAT END INSOMNIA, 792 00:45:36,630 --> 00:45:41,910 TERMINATE REMORSE, CURE CANCER, AVOID BANKRUPTCY, 793 00:45:42,049 --> 00:45:45,049 AND BLAST AN EXIT FROM INTOLERABLE POSITIONS 794 00:45:45,190 --> 00:45:47,230 BY THE PRESSURE OF A FINGER; 795 00:45:49,436 --> 00:45:51,506 THOSE ADMIRABLE AMERICAN INSTRUMENTS 796 00:45:51,679 --> 00:45:56,439 SO EASILY CARRIED, SO SURE OF EFFECT, 797 00:45:56,581 --> 00:45:59,071 SO WELL DESIGNED TO END THE AMERICAN DREAM 798 00:45:59,204 --> 00:46:02,314 WHEN IT BECOMES A NIGHTMARE, 799 00:46:02,449 --> 00:46:06,039 THEIR ONLY DRAWBACK THE MESS THEY LEAVE 800 00:46:06,142 --> 00:46:08,392 FOR RELATIVES TO CLEAN UP. 801 00:46:11,044 --> 00:46:13,054 NARRATOR: FEELING THE PRESSURE TO COME UP WITH SOMETHING 802 00:46:13,149 --> 00:46:17,459 AFTER THE COMMERCIAL FAILURE OF HIS NONFICTION, 803 00:46:17,602 --> 00:46:19,642 HEMINGWAY TRIED TO COBBLE TOGETHER A NOVEL 804 00:46:19,777 --> 00:46:23,497 OUT OF TWO SHORT STORIES AND SOME NEW MATERIAL. 805 00:46:23,642 --> 00:46:26,302 THE RESULT WAS A TANGLED MELODRAMA ABOUT 806 00:46:26,438 --> 00:46:28,408 DOWN-ON-THEIR-LUCK AMERICANS-- 807 00:46:28,578 --> 00:46:30,998 HIS VERSION OF A PROLETARIAN NOVEL, 808 00:46:31,133 --> 00:46:34,553 CALLED "TO HAVE AND HAVE NOT." 809 00:46:36,138 --> 00:46:37,798 THE CRITICS DIDN'T LIKE IT. 810 00:46:37,933 --> 00:46:39,493 AND IN THE END, HEMINGWAY 811 00:46:39,624 --> 00:46:41,804 DIDN'T MUCH LIKE IT EITHER. 812 00:46:43,076 --> 00:46:45,286 [LEONARDO PADURA SPEAKING SPANISH] 813 00:47:13,278 --> 00:47:14,938 [JOHNNY GANDELSMAN'S "THE GARDEN OF EDEN MIX 3 BASS STEM" PLAYING] 814 00:47:15,039 --> 00:47:17,249 [PEOPLE CHANTING INDISTINCTLY] 815 00:47:20,147 --> 00:47:22,357 [ADOLF HITLER SPEAKING GERMAN] 816 00:47:30,123 --> 00:47:33,573 NARRATOR: ERNEST HEMINGWAY UNDERSTOOD THE DANGERS OF FASCISM 817 00:47:33,712 --> 00:47:36,442 AND BELIEVED ADOLF HITLER WOULD ONE DAY LAUNCH 818 00:47:36,612 --> 00:47:39,482 A EUROPEAN WAR OF CONQUEST. 819 00:47:39,580 --> 00:47:42,140 BUT, AS A DISENCHANTED SURVIVOR OF THE WAR 820 00:47:42,307 --> 00:47:44,477 THAT HAD BEEN SUPPOSED TO END ALL WARS, 821 00:47:44,620 --> 00:47:46,550 HE TOLD "ESQUIRE" READERS, 822 00:47:46,691 --> 00:47:48,621 AMERICANS SHOULD TAKE NO PART IN IT. 823 00:47:50,971 --> 00:47:53,661 "OF THE HELL-BROTH THAT IS BREWING IN EUROPE 824 00:47:53,801 --> 00:47:56,011 WE HAVE NO NEED TO DRINK," HE WROTE. 825 00:47:56,149 --> 00:47:59,499 "WE WERE FOOLS TO BE SUCKED IN ONCE ON A EUROPEAN WAR 826 00:47:59,669 --> 00:48:03,329 AND WE SHOULD NEVER BE SUCKED IN AGAIN." 827 00:48:03,466 --> 00:48:05,706 [EXPLOSIONS AND GUNFIRE] 828 00:48:09,507 --> 00:48:11,677 BUT WHAT WAS HAPPENING IN HIS BELOVED SPAIN 829 00:48:11,819 --> 00:48:14,579 WAS BEGINNING TO CHANGE HIS MIND. 830 00:48:15,754 --> 00:48:19,764 IT WAS NOW BEING TORN APART BY A CIVIL WAR. 831 00:48:22,106 --> 00:48:26,346 EARLY IN 1936, REACTIONARY ELEMENTS OF THE ARMY, 832 00:48:26,524 --> 00:48:30,874 EVENTUALLY LED BY A FASCIST GENERAL NAMED FRANCISCO FRANCO 833 00:48:31,011 --> 00:48:33,601 AND SUPPORTED BY WEALTHY INDUSTRIALISTS, 834 00:48:33,738 --> 00:48:36,668 GREAT LANDOWNERS, AND THE CATHOLIC CHURCH, 835 00:48:36,775 --> 00:48:39,355 JOINED FORCES TO TRY TO OVERTHROW 836 00:48:39,468 --> 00:48:43,018 THE DULY ELECTED SOCIALIST GOVERNMENT. 837 00:48:44,749 --> 00:48:47,059 HITLER PROVIDED FRANCO AND HIS REBELS 838 00:48:47,200 --> 00:48:49,030 WITH BOMBERS AND FIGHTER PLANES 839 00:48:49,133 --> 00:48:52,213 AND GERMAN PILOTS TO FLY THEM. 840 00:48:52,377 --> 00:48:55,997 THEIR GOAL WAS TO TERRORIZE THE CIVILIAN POPULATION. 841 00:48:57,141 --> 00:48:59,661 THE ITALIAN DICTATOR, BENITO MUSSOLINI, 842 00:48:59,798 --> 00:49:04,838 DISPATCHED TANKS AND NEARLY 80,000 TROOPS. 843 00:49:04,976 --> 00:49:09,566 WITHIN WEEKS, FRANCO'S FORCES HAD SEIZED 1/3 OF THE COUNTRY 844 00:49:09,739 --> 00:49:14,609 FROM THOSE FAITHFUL TO THE GOVERNMENT--THE LOYALISTS. 845 00:49:15,814 --> 00:49:20,304 THE LOYALISTS' ONLY ALLY WAS SOVIET PREMIER JOSEF STALIN, 846 00:49:20,440 --> 00:49:25,100 WHO WAS EAGER TO BE SEEN AS THE LEADER OF THE EUROPEAN LEFT. 847 00:49:25,238 --> 00:49:28,278 HE CALLED UPON COMMUNISTS FROM AROUND THE WORLD 848 00:49:28,413 --> 00:49:31,143 TO RALLY VOLUNTEER BRIGADES. 849 00:49:31,278 --> 00:49:35,138 BETWEEN 30,000 AND 40,000 MEN FROM MORE THAN 50 COUNTRIES 850 00:49:35,282 --> 00:49:40,252 WOULD ANSWER THE CALL--INCLUDING SOME 2,800 AMERICANS 851 00:49:40,356 --> 00:49:44,906 WHO CALLED THEIR OUTFIT THE ABRAHAM LINCOLN BRIGADE. 852 00:49:47,536 --> 00:49:50,466 HEMINGWAY WAS CERTAIN THAT SPAIN WAS THE PLACE 853 00:49:50,608 --> 00:49:53,748 WHERE FASCISM HAD TO BE STOPPED. 854 00:49:55,993 --> 00:49:58,133 VAILL: HE SAID TO A FRIEND IN KEY WEST, 855 00:49:58,271 --> 00:50:00,551 "I'VE GOT THIS GREAT HOUSE, I'VE GOT THIS BOAT, 856 00:50:00,687 --> 00:50:02,897 "BUT THEY ALL REALLY COME FROM PAULINE. 857 00:50:03,034 --> 00:50:06,524 "EXCEPT FOR THAT, I REALLY DON'T HAVE ANYTHING." 858 00:50:06,658 --> 00:50:09,348 SO, IN ORDER TO HAVE SOMETHING NEW TO WRITE, 859 00:50:09,489 --> 00:50:11,109 HE HAD TO HAVE SOMETHING NEW TO LIVE. 860 00:50:12,768 --> 00:50:14,218 AT THIS JUNCTION IN HIS LIFE, 861 00:50:14,356 --> 00:50:15,316 HEMINGWAY IS LOOKING DESPERATELY 862 00:50:15,460 --> 00:50:16,940 FOR THIS FRESH START. 863 00:50:17,117 --> 00:50:21,117 AND HE THINKS HE WILL FIND IT IN SPAIN. 864 00:50:23,158 --> 00:50:25,188 NARRATOR: "FOR A LONG TIME," HEMINGWAY WROTE, 865 00:50:25,332 --> 00:50:30,652 "ME AND MY CONSCIENCE BOTH HAVE KNOWN I HAVE TO GO TO SPAIN." 866 00:50:34,962 --> 00:50:38,142 WOMAN AS MARTHA GELLHORN: JANUARY 8, 1937. 867 00:50:38,242 --> 00:50:39,482 DEAR MRS. ROOSEVELT, 868 00:50:39,622 --> 00:50:41,622 I'M IN KEY WEST. 869 00:50:42,832 --> 00:50:45,322 TO DATE IT'S THE BEST THING I'VE FOUND IN AMERICA. 870 00:50:45,490 --> 00:50:50,810 IT'S HOT AND FALLING TO PIECES AND PEOPLE SEEM HAPPY. 871 00:50:52,152 --> 00:50:55,192 I SEE HEMINGWAY HERE, WHO KNOWS MORE ABOUT 872 00:50:55,328 --> 00:50:58,638 WRITING DIALOGUE, I THINK, THAN ANYONE WRITING IN ENGLISH. 873 00:50:59,849 --> 00:51:04,229 HE'S AN ODD BIRD, VERY LOVABLE AND FULL OF FIRE 874 00:51:04,371 --> 00:51:06,721 AND A MARVELOUS STORY TELLER. 875 00:51:06,856 --> 00:51:09,196 IN A WRITER THIS IS IMAGINATION, 876 00:51:09,342 --> 00:51:11,452 IN ANYONE ELSE IT'S LYING. 877 00:51:11,585 --> 00:51:13,785 THAT'S WHERE GENIUS COMES IN. 878 00:51:13,932 --> 00:51:16,142 [GEORGE AND IRA GERSHWIN'S "OH, LADY BE GOOD" PLAYING] 879 00:51:18,558 --> 00:51:20,628 NARRATOR: WHEN THE WRITER MARTHA GELLHORN, 880 00:51:20,767 --> 00:51:23,427 A FAMILY FRIEND OF ELEANOR ROOSEVELT, 881 00:51:23,563 --> 00:51:25,013 INTRODUCED HERSELF TO ERNEST HEMINGWAY 882 00:51:25,116 --> 00:51:30,046 AT THE BAR IN SLOPPY JOE'S IN DECEMBER OF 1936, 883 00:51:30,190 --> 00:51:34,710 SHE WAS 28 YEARS OLD, 9 YEARS YOUNGER THAN HE. 884 00:51:35,885 --> 00:51:37,915 VERNA KALE: SHE HAS LONG LEGS. SHE LOOKS VERY BEAUTIFUL. 885 00:51:38,060 --> 00:51:42,480 AND SHE, TOO, HAS A CHARISMATIC PERSONALITY. 886 00:51:42,616 --> 00:51:44,786 HE WAS INTERESTED IN PEOPLE WHO WERE INTERESTED IN HIM 887 00:51:44,929 --> 00:51:48,279 AND THEY JUST HIT IT OFF. 888 00:51:48,415 --> 00:51:52,035 DEARBORN: MARTHA WAS A REALLY TOUGH COOKIE. 889 00:51:52,143 --> 00:51:54,703 AND MARTHA, UM, WAS A VERY GOOD WRITER 890 00:51:54,870 --> 00:51:56,490 AND SHE KNEW, UM, SHE HAD 891 00:51:56,630 --> 00:51:58,700 VERY GOOD CONNECTIONS AND SO FORTH. 892 00:51:58,874 --> 00:52:01,224 AND SHE WENT TO SLOPPY JOE'S, 893 00:52:01,325 --> 00:52:04,255 WHICH SHE KNOWS THAT HEMINGWAY HANGS OUT AT. 894 00:52:04,397 --> 00:52:05,977 IT'S A DISGUSTING BAR. 895 00:52:06,123 --> 00:52:08,403 YOU WOULDN'T TAKE YOUR MOTHER AND YOUR BROTHER [LAUGHS] THERE, 896 00:52:08,504 --> 00:52:10,164 BUT SHE DOES. 897 00:52:10,299 --> 00:52:12,959 AND, MEANWHILE, SHE'S WEARING A BLACK DRESS. 898 00:52:13,095 --> 00:52:14,915 SHE'S A BLOND. 899 00:52:15,062 --> 00:52:18,582 AND THE MARRIAGE DIDN'T HAVE A CHANCE. 900 00:52:19,998 --> 00:52:21,478 NARRATOR: GELLHORN HAD ADMIRED HEMINGWAY 901 00:52:21,621 --> 00:52:24,591 SINCE HER COLLEGE DAYS AT BRYN MAWR, 902 00:52:24,762 --> 00:52:25,942 WHEN SHE'D HUNG HIS PHOTOGRAPH 903 00:52:26,073 --> 00:52:29,353 ON THE WALL OF HER DORMITORY ROOM. 904 00:52:29,491 --> 00:52:32,771 SHE'D PUBLISHED A BOOK OF SHORT STORIES ABOUT THE POOR 905 00:52:32,942 --> 00:52:36,952 BASED ON INTERVIEWS SHE'D DONE FOR A NEW DEAL AGENCY, 906 00:52:37,084 --> 00:52:38,914 AND A NOVEL. 907 00:52:39,086 --> 00:52:42,636 SHE HAD HAD AT LEAST TWO MARRIED LOVERS. 908 00:52:42,780 --> 00:52:44,020 VAILL: MARTHA GELLHORN HAD WRITTEN A NOVEL 909 00:52:44,161 --> 00:52:45,921 WHICH HAD BEEN QUITE WELL RECEIVED... 910 00:52:46,093 --> 00:52:48,513 AH...ABOUT YOUNG WOMEN COMING OF AGE 911 00:52:48,648 --> 00:52:51,438 SEXUALLY AS WELL AS PROFESSIONALLY. 912 00:52:51,547 --> 00:52:53,997 ALL OF THE REVIEWERS ACKNOWLEDGED 913 00:52:54,136 --> 00:52:58,136 THAT SHE HAD A DEBT, SORT OF A STYLISTIC DEBT TO HEMINGWAY. 914 00:52:58,313 --> 00:53:03,843 SO, SHE HAD ALREADY A KIND OF LITERARY CRUSH ON HIM. 915 00:53:05,043 --> 00:53:07,813 NARRATOR: GELLHORN SPENT TWO WEEKS IN KEY WEST, 916 00:53:07,977 --> 00:53:11,637 MUCH OF THAT TIME IN THE HEMINGWAYS' COMPANY. 917 00:53:13,707 --> 00:53:16,367 VAILL: SHE BECAME, AS SHE LATER PUT IT, 918 00:53:16,503 --> 00:53:18,643 A FIXTURE LIKE A KUDU HEAD 919 00:53:18,816 --> 00:53:22,646 ON THE WALLS OF THE HEMINGWAY HOUSE. 920 00:53:22,820 --> 00:53:24,130 SHE HUNG AROUND A WHOLE LOT. 921 00:53:24,304 --> 00:53:28,344 AND THE TWO OF THEM HAD DEEP TALKS ABOUT FICTION 922 00:53:28,481 --> 00:53:31,691 AND HOW YOU WROTE AND ABOUT SPAIN, 923 00:53:31,829 --> 00:53:33,829 WHICH SHE SEEMED TO KNOW A GOOD DEAL ABOUT 924 00:53:33,934 --> 00:53:36,144 AND WHICH SHE WAS VERY PASSIONATE ABOUT. 925 00:53:36,316 --> 00:53:39,936 AND THEY WERE IMMEDIATELY ATTRACTED TO EACH OTHER 926 00:53:40,078 --> 00:53:45,258 AND HATCHED A PLOT TO GO OFF AND COVER THE WAR TOGETHER. 927 00:53:45,394 --> 00:53:47,714 NARRATOR: HEMINGWAY HAD ALREADY SIGNED UP AS A REPORTER 928 00:53:47,845 --> 00:53:50,495 FOR THE NORTH AMERICAN NEWSPAPER ALLIANCE, 929 00:53:50,606 --> 00:53:53,506 SERVING 60 U.S. PAPERS. 930 00:53:53,678 --> 00:53:58,438 HE WAS TO BE PAID $1,000 FOR EVERY FEATURE STORY WRITTEN 931 00:53:58,580 --> 00:54:02,000 AND $500 FOR EACH CABLED DISPATCH-- 932 00:54:02,100 --> 00:54:04,410 MORE THAN ANY FOREIGN CORRESPONDENT 933 00:54:04,551 --> 00:54:07,001 HAD EVER BEEN PAID BEFORE. 934 00:54:07,174 --> 00:54:09,384 PAULINE OPPOSED HIS GOING. 935 00:54:09,487 --> 00:54:13,627 IT WAS SURE TO BE DANGEROUS; SHE WAS AFRAID SHE'D LOSE HIM. 936 00:54:13,767 --> 00:54:17,527 HE WAS SORRY, HE SAID, "BUT YOU CAN'T PRESERVE YOUR HAPPINESS 937 00:54:17,702 --> 00:54:21,292 BY PUTTING IT AWAY IN MOTHBALLS." 938 00:54:21,430 --> 00:54:25,570 HE WAS MORE CANDID WITH A FRIEND IN KEY WEST THAT NOVEMBER: 939 00:54:25,710 --> 00:54:27,890 "NOTHING'S REALLY HAPPENING TO ME HERE. 940 00:54:28,057 --> 00:54:31,097 "I'VE GOT TO GET OUT. IN SPAIN MAYBE IT'S 941 00:54:31,233 --> 00:54:34,343 THE BIG PARADE STARTING AGAIN." 942 00:54:35,789 --> 00:54:38,069 VAILL: THEY DID NOT GO ON THE SAME BOAT. 943 00:54:38,205 --> 00:54:41,135 THEY PRETENDED NOT TO KNOW EACH OTHER. 944 00:54:41,278 --> 00:54:44,558 THEY TRAVELED UNDER SEPARATE ITINERARIES, 945 00:54:44,729 --> 00:54:48,219 BUT THEY BOTH GOT TO MADRID AND COMMENCED AN AFFAIR 946 00:54:48,319 --> 00:54:50,739 THAT WENT ON FOR THE ENTIRE 3 YEARS 947 00:54:50,839 --> 00:54:52,389 OF THE SPANISH CIVIL WAR. 948 00:54:52,496 --> 00:54:55,046 [JOHNNY GANDELSMAN'S "THE GARDEN OF EDEN MIX 3" PLAYING] 949 00:54:55,222 --> 00:54:57,402 NARRATOR: WHEN THEY MET UP IN MADRID, 950 00:54:57,570 --> 00:54:58,920 THE CITY HAD BEEN UNDER SIEGE 951 00:54:59,019 --> 00:55:03,299 BY FRANCO'S FASCIST FORCES FOR 6 MONTHS. 952 00:55:05,025 --> 00:55:08,195 MAN AS HEMINGWAY: IN THE MORNING, BEFORE YOUR CALL COMES FROM THE DESK, 953 00:55:08,339 --> 00:55:13,209 THE ROARING BURST OF A HIGH EXPLOSIVE SHELL WAKES YOU 954 00:55:13,344 --> 00:55:16,004 AND YOU GO TO THE WINDOW AND LOOK OUT TO SEE A MAN, 955 00:55:16,140 --> 00:55:19,350 HIS HEAD DOWN, HIS COAT COLLAR UP, 956 00:55:19,488 --> 00:55:22,938 SPRINTING DESPERATELY ACROSS THE PAVED SQUARE. 957 00:55:23,112 --> 00:55:25,152 THERE IS THE ACRID SMELL OF HIGH EXPLOSIVE 958 00:55:25,287 --> 00:55:28,117 YOU HOPED YOU'D NEVER SMELL AGAIN, 959 00:55:28,255 --> 00:55:30,875 AND, IN A BATHROBE AND BEDROOM SLIPPERS, 960 00:55:31,017 --> 00:55:33,117 YOU HURRY DOWN THE MARBLE STAIRS AND ALMOST INTO 961 00:55:33,226 --> 00:55:36,466 A MIDDLE-AGED WOMAN, WOUNDED IN THE ABDOMEN, 962 00:55:36,609 --> 00:55:38,369 WHO IS BEING HELPED INTO THE HOTEL ENTRANCE 963 00:55:38,507 --> 00:55:41,407 BY TWO MEN IN BLUE WORKMEN'S SMOCKS. 964 00:55:43,305 --> 00:55:44,615 SHE HAS HER TWO HANDS CROSSED BELOW 965 00:55:44,789 --> 00:55:47,859 HER BIG, OLD-STYLE SPANISH BOSOM 966 00:55:47,999 --> 00:55:49,449 AND FROM BETWEEN HER FINGERS 967 00:55:49,553 --> 00:55:52,453 THE BLOOD IS SPURTING IN A THIN STREAM. 968 00:55:54,454 --> 00:55:58,984 ON THE CORNER, 20 YARDS AWAY, IS A HEAP OF RUBBLE, 969 00:55:59,079 --> 00:56:02,079 SMASHED CEMENT AND THROWN-UP DIRT, 970 00:56:02,220 --> 00:56:06,330 A SINGLE DEAD MAN, HIS TORN CLOTHES DUSTY, 971 00:56:06,466 --> 00:56:08,366 AND A GREAT HOLE IN THE SIDEWALK FROM WHICH 972 00:56:08,503 --> 00:56:12,063 THE GAS FROM A BROKEN MAIN IS RISING, 973 00:56:12,196 --> 00:56:16,786 LOOKING LIKE A HEAT MIRAGE IN THE COLD MORNING AIR. 974 00:56:20,377 --> 00:56:22,207 NARRATOR: THE NEW LOVERS OCCUPIED A SUITE 975 00:56:22,344 --> 00:56:25,874 ON THE THIRD FLOOR OF THE HOTEL FLORIDA. 976 00:56:27,349 --> 00:56:30,419 THE HOTEL WAS SOMETIMES HIT BY ENEMY SHELLS 977 00:56:30,559 --> 00:56:35,389 INTENDED FOR A NEARBY LOYALIST COMMUNICATIONS CENTER, 978 00:56:35,530 --> 00:56:37,840 BUT IT REMAINED HEADQUARTERS FOR A HOST OF 979 00:56:37,946 --> 00:56:42,256 CORRESPONDENTS AND CELEBRITIES EAGER FOR A FIRST-HAND LOOK 980 00:56:42,399 --> 00:56:44,059 AT THE FIGHTING-- 981 00:56:44,193 --> 00:56:48,063 ANDRE MALRAUX AND ANTOINE DE SAINT-EXUPERY, 982 00:56:48,197 --> 00:56:51,237 HERBERT L. MATHEWS OF "THE NEW YORK TIMES," 983 00:56:51,373 --> 00:56:54,203 THE PHOTOGRAPHER ROBERT CAPA, 984 00:56:54,376 --> 00:56:58,726 THE WRITERS LANGSTON HUGHES AND JOHN DOS PASSOS, 985 00:56:58,863 --> 00:57:01,903 AND THE MOVIE STAR ERROL FLYNN. 986 00:57:03,281 --> 00:57:05,351 HEMINGWAY--"CRACKLING WITH GENEROSITY," 987 00:57:05,525 --> 00:57:08,795 ONE REPORTER REMEMBERED, AND "BURSTING WITH VIGOR"-- 988 00:57:08,942 --> 00:57:11,262 WAS AT THE CENTER OF THINGS. 989 00:57:11,393 --> 00:57:15,223 A HIGH-SPIRITED CROWD GATHERED AROUND HIM EACH EVENING-- 990 00:57:15,328 --> 00:57:19,538 OFTEN WEARING WINTER COATS SINCE THE HOTEL HAD NO HEAT-- 991 00:57:19,712 --> 00:57:22,992 TO DINE ON BEER AND WHISKEY, CANNED HAM, 992 00:57:23,129 --> 00:57:25,549 AND PAT É HE IMPORTED FROM FRANCE-- 993 00:57:25,649 --> 00:57:28,889 SOMETIMES SUPPLEMENTED WITH PARTRIDGES HE HAD SHOT 994 00:57:28,997 --> 00:57:31,517 IN THE FIELDS BEYOND THE CITY THAT MORNING 995 00:57:31,655 --> 00:57:36,415 AND HAD COOKED UP ON A HOT PLATE FOR HIMSELF AND HIS GUESTS. 996 00:57:38,075 --> 00:57:41,665 EDNA O'BRIEN: HE DID IDENTIFY, MOST UTTERLY, 997 00:57:41,803 --> 00:57:44,533 WITH EXTREME SITUATIONS. 998 00:57:46,911 --> 00:57:51,051 IT'S LIKE IN "KING LEAR," IT'S WANTING TO KNOW THE WORST 999 00:57:51,226 --> 00:57:53,436 AND TO KNOW IF ONE CAN BEAR IT. 1000 00:57:54,436 --> 00:57:58,296 IT'S A TEST. AND IT'S ALSO A TERROR. 1001 00:57:59,648 --> 00:58:03,238 AND THEY, THEY COME TOGETHER IN ONE. 1002 00:58:04,515 --> 00:58:06,585 NARRATOR: MARTHA GELLHORN, REPORTING ON THE WAR 1003 00:58:06,690 --> 00:58:07,760 FOR "COLLIER'S," 1004 00:58:07,932 --> 00:58:09,182 WAS INTRODUCED BY ERNEST 1005 00:58:09,313 --> 00:58:12,043 TO EVERYONE AS HIS GIRLFRIEND. 1006 00:58:12,178 --> 00:58:14,278 SHE WORE SHORT SKIRTS, AND OFTEN 1007 00:58:14,387 --> 00:58:17,107 "SAT ON THE TABLE," ONE WOMAN RECALLED, 1008 00:58:17,286 --> 00:58:21,976 "SWINGING HER LONG, SLIM LEGS IN A PROVOCATIVE MANNER." 1009 00:58:22,119 --> 00:58:24,089 BUT SHE COVERED THE FIGHTING EVERY BIT AS 1010 00:58:24,190 --> 00:58:27,090 FEARLESSLY AS HEMINGWAY DID. 1011 00:58:28,608 --> 00:58:30,298 GELLHORN: WE'D EITHER HEAR WITH OUR EARS 1012 00:58:30,472 --> 00:58:32,612 THAT SOMETHING WAS GOING ON, OR WE'D HEAR BY RUMOR 1013 00:58:32,785 --> 00:58:35,125 THAT THERE WAS A PUSH OR A BATTLE OR SOMETHING, 1014 00:58:35,270 --> 00:58:37,380 THEN WE'D JUST GO OFF TO IT. 1015 00:58:37,514 --> 00:58:42,214 IT WAS A VERY SMALL, VERY MUCH DO-IT-YOURSELF WAR. 1016 00:58:42,346 --> 00:58:45,206 IT WAS, IT WAS THE SIDE OF THE POOR 1017 00:58:45,349 --> 00:58:50,319 AND, UM, AND THAT WAS HOW IT WORKED, 1018 00:58:50,423 --> 00:58:53,083 AND THOSE OF US WHO CARED ABOUT IT, CARED ABOUT IT, 1019 00:58:53,219 --> 00:58:56,739 I SUPPOSE, MORE THAN ANYTHING BEFORE OR SINCE. 1020 00:58:56,878 --> 00:58:59,288 [JOHNNY GANDELSMAN'S "THE GARDEN OF EDEN MIX 3" PLAYING] 1021 00:59:02,469 --> 00:59:04,639 NARRATOR: BUT BEHIND THE SCENES, JOSEF STALIN 1022 00:59:04,817 --> 00:59:07,647 WAS EXACTING A FEARFUL PRICE FOR THE AID 1023 00:59:07,751 --> 00:59:10,481 HE PROVIDED TO LOYALIST SPAIN. 1024 00:59:10,581 --> 00:59:12,381 HIS AGENTS WERE ORDERED TO TAKE OVER 1025 00:59:12,514 --> 00:59:15,344 AS MUCH OF THE GOVERNMENT AS THEY COULD 1026 00:59:15,448 --> 00:59:19,348 AND SUPPRESS WHAT STALIN CALLED "UNTRUSTWORTHY ELEMENTS" 1027 00:59:19,521 --> 00:59:24,041 WITHIN ITS COALITION, ANYONE HE COULD NOT CONTROL-- 1028 00:59:24,181 --> 00:59:28,081 ANARCHISTS, SOCIALISTS, TROTSKYITES. 1029 00:59:28,219 --> 00:59:31,499 SUSPECTS WERE SPIRITED AWAY, TORTURED, 1030 00:59:31,671 --> 00:59:35,641 EXECUTED IN SECRET AND WITHOUT TRIAL. 1031 00:59:36,780 --> 00:59:40,610 HEMINGWAY AND GELLHORN DINED OFTEN WITH SOVIET COMMISSARS 1032 00:59:40,749 --> 00:59:43,099 AND HEMINGWAY INTERVIEWED THE MAN RESPONSIBLE 1033 00:59:43,234 --> 00:59:46,384 FOR MOST OF THE EXECUTIONS. 1034 00:59:46,513 --> 00:59:49,143 BUT THEY REPORTED NONE OF IT. 1035 00:59:49,275 --> 00:59:51,205 TO EXPOSE THEM, THEY BELIEVED, 1036 00:59:51,380 --> 00:59:55,280 WOULD HAVE HURT THE ANTI-FASCIST CAUSE. 1037 00:59:55,419 --> 00:59:58,079 BESIDES, HEMINGWAY WANTED TO USE THE MATERIAL 1038 00:59:58,215 --> 01:00:00,285 IN HIS NEXT NOVEL. 1039 01:00:01,425 --> 01:00:03,145 WHEN THE SOVIETS ORDERED THE EXECUTION 1040 01:00:03,289 --> 01:00:06,529 OF A CLOSE LOYALIST FRIEND OF JOHN DOS PASSOS, 1041 01:00:06,637 --> 01:00:11,117 HEMINGWAY TOLD DOS PASSOS TO KEEP QUIET ABOUT IT. 1042 01:00:11,262 --> 01:00:12,642 WHEN HIS OLD FRIEND INSISTED 1043 01:00:12,781 --> 01:00:15,541 HE HAD TO GO PUBLIC WITH WHAT HAD HAPPENED, 1044 01:00:15,715 --> 01:00:18,645 HEMINGWAY SAID IT WOULD END HIS CAREER-- 1045 01:00:18,787 --> 01:00:21,127 THE LEFT-WING LITERARY WORLD IN NEW YORK 1046 01:00:21,272 --> 01:00:23,382 WOULD NEVER FORGIVE HIM. 1047 01:00:24,828 --> 01:00:27,348 "WHY, ERNEST," DOS PASSOS' WIFE SAID, 1048 01:00:27,485 --> 01:00:33,005 "I'VE NEVER HEARD ANYTHING SO DESPICABLY OPPORTUNISTIC IN MY LIFE." 1049 01:00:33,146 --> 01:00:36,456 THEIR FRIENDSHIP NEVER FULLY RECOVERED. 1050 01:00:39,325 --> 01:00:40,775 THROUGH IT ALL, HEMINGWAY AND GELLHORN 1051 01:00:40,913 --> 01:00:42,573 GREW STEADILY CLOSER. 1052 01:00:42,673 --> 01:00:45,503 AT ONE POINT, HE ASKED HER TO MARRY HIM. 1053 01:00:45,642 --> 01:00:49,442 SHE WAS AMBIVALENT, RESPONDING ONLY IN HER DIARY, 1054 01:00:49,611 --> 01:00:53,821 "NOTE TO H.: I LOVE YOU VERY MUCH INDEED." 1055 01:00:55,030 --> 01:00:57,580 WOMAN AS GELLHORN: I CAN DO VERY WELL WITHOUT MARRIAGE. 1056 01:00:57,757 --> 01:01:01,207 I'D RATHER SIN RESPECTABLY, ANY DAY OF THE WEEK. 1057 01:01:01,347 --> 01:01:03,447 ERNEST THINKS, OF COURSE, THAT MARRIAGE 1058 01:01:03,556 --> 01:01:07,276 SAVES YOU A LOT OF TROUBLE AND HE IS ALL FOR IT. 1059 01:01:07,456 --> 01:01:11,976 I LIKE IT BETTER CLEAN: I THINK SIN IS VERY CLEAN. 1060 01:01:12,116 --> 01:01:14,666 THERE ARE NO STRINGS ATTACHED TO IT. 1061 01:01:14,809 --> 01:01:16,429 [FILM PROJECTOR WHIRRING] 1062 01:01:16,603 --> 01:01:18,883 [MEN SINGING INDISTINCTLY] 1063 01:01:19,020 --> 01:01:22,300 HEMINGWAY: BEFORE, DEATH CAME WHEN YOU WERE OLD OR SICK. 1064 01:01:22,471 --> 01:01:24,961 BUT NOW IT COMES TO ALL THIS VILLAGE. 1065 01:01:25,129 --> 01:01:28,129 HIGH IN THE SKY, AND SHINING SILVER... 1066 01:01:28,305 --> 01:01:29,885 NARRATOR: AFTER TWO MONTHS IN SPAIN, 1067 01:01:30,031 --> 01:01:32,071 THEY RETURNED TO THE UNITED STATES, 1068 01:01:32,205 --> 01:01:33,515 WHERE GELLHORN PREVAILED UPON 1069 01:01:33,655 --> 01:01:35,685 HER FRIENDSHIP WITH THE FIRST LADY 1070 01:01:35,830 --> 01:01:39,450 TO SCREEN "THE SPANISH EARTH," A DOCUMENTARY FILM BY 1071 01:01:39,626 --> 01:01:43,146 A COMMUNIST FILMMAKER NAMED JORIS IVENS 1072 01:01:43,320 --> 01:01:46,740 THAT HEMINGWAY HAD WRITTEN AND NARRATED. 1073 01:01:46,875 --> 01:01:49,145 HEMINGWAY: THE SMELL OF DEATH IS ACRID 1074 01:01:49,291 --> 01:01:51,091 HIGH EXPLOSIVE SMOKE 1075 01:01:51,224 --> 01:01:53,234 AND BLASTED GRANITE. 1076 01:01:53,364 --> 01:01:55,684 WHY DO THEY STAY? THEY STAY BECAUSE 1077 01:01:55,815 --> 01:01:59,505 THIS IS THEIR CITY, THESE ARE THEIR HOMES. 1078 01:01:59,612 --> 01:02:02,822 HERE IS THEIR WORK, THIS IS THEIR FIGHT. 1079 01:02:02,926 --> 01:02:05,576 THE FIGHT TO BE ALLOWED TO LIVE AS HUMAN BEINGS. 1080 01:02:05,722 --> 01:02:07,452 [JOHNNY GANDELSMAN'S "LA DESPEDIDA MIX 1" PLAYING] 1081 01:02:07,585 --> 01:02:09,205 NARRATOR: "IT WAS DAMNED NICE OF THE ROOSEVELTS 1082 01:02:09,346 --> 01:02:11,656 TO HAVE US," HEMINGWAY LATER WROTE, 1083 01:02:11,762 --> 01:02:14,252 BUT THE PRESIDENT, WHILE SYMPATHETIC, 1084 01:02:14,385 --> 01:02:18,285 FELT HE COULD DO NOTHING TO HELP THE LOYALIST CAUSE. 1085 01:02:18,424 --> 01:02:22,264 THE UNITED STATES WAS STILL A NEUTRAL COUNTRY. 1086 01:02:23,394 --> 01:02:25,054 HEMINGWAY WOULD RETURN TO SPAIN 1087 01:02:25,189 --> 01:02:28,849 3 MORE TIMES OVER THE NEXT 17 MONTHS 1088 01:02:29,021 --> 01:02:33,961 AS THE FASCISTS SLOWLY, STEADILY ADVANCED. 1089 01:02:34,095 --> 01:02:37,505 THOUGH HE HAD PRIVATELY COME TO BELIEVE THE WAR HAD DEVOLVED 1090 01:02:37,684 --> 01:02:39,694 INTO WHAT HE CALLED "A CARNIVAL OF 1091 01:02:39,859 --> 01:02:43,589 TREACHERY AND ROTTENNESS ON BOTH SIDES," 1092 01:02:43,725 --> 01:02:46,585 HIS DISPATCHES REMAINED OPTIMISTIC EVEN AS 1093 01:02:46,728 --> 01:02:50,458 HOPES FOR A LOYALIST VICTORY BEGAN TO FADE. 1094 01:02:51,871 --> 01:02:53,841 [EXPLOSIONS AND GUNFIRE] 1095 01:03:11,097 --> 01:03:12,817 AND WHEN ALL WAS FINALLY LOST 1096 01:03:12,961 --> 01:03:14,961 AND LOYALIST FRIENDS OF HEMINGWAY'S 1097 01:03:15,101 --> 01:03:18,351 WERE FORCED INTO EXILE IN FRANCE, 1098 01:03:18,484 --> 01:03:21,904 WITHOUT A CAUSE OR A COUNTRY ANYMORE, 1099 01:03:22,005 --> 01:03:24,585 MARTHA FOUND HIM WEEPING. 1100 01:03:25,836 --> 01:03:29,666 "I REALLY DID LOVE ERNEST THEN," SHE WOULD REMEMBER. 1101 01:03:34,672 --> 01:03:36,672 [DAVID CIERI'S "I USED TO LOVE YOU VARIATION 2" PLAYING] 1102 01:03:36,813 --> 01:03:39,193 WOMAN AS PAULINE HEMINGWAY: OH, PAPA DARLING, 1103 01:03:39,332 --> 01:03:40,922 WHAT IS THE MATTER WITH YOU? 1104 01:03:41,024 --> 01:03:43,164 IF YOU ARE NO LONGER THE MAN I USED TO KNOW, 1105 01:03:43,302 --> 01:03:46,172 GET THE HELL OUT, 1106 01:03:46,305 --> 01:03:49,895 BUT IF YOU ARE, STOP BEING SO STUPID. 1107 01:03:52,932 --> 01:03:55,312 NARRATOR: FROM THE FIRST, PAULINE HAD RESENTED 1108 01:03:55,452 --> 01:03:59,352 HER HUSBAND'S LONG ABSENCES OVERSEAS. 1109 01:03:59,490 --> 01:04:01,530 THEN, SOMEHOW, SHE LEARNED OF 1110 01:04:01,665 --> 01:04:04,455 HIS RELATIONSHIP WITH MARTHA GELLHORN. 1111 01:04:04,633 --> 01:04:06,293 SHE DID EVERYTHING SHE COULD THINK OF 1112 01:04:06,463 --> 01:04:09,223 TO KEEP HER MARRIAGE INTACT-- 1113 01:04:09,362 --> 01:04:12,642 REUNIONS WITH HER HUSBAND IN PARIS, 1114 01:04:12,779 --> 01:04:16,199 WYOMING VACATIONS WITH HIM AND THE BOYS, 1115 01:04:16,335 --> 01:04:19,435 FAMILY FISHING TRIPS OFF FLORIDA. 1116 01:04:19,545 --> 01:04:21,615 NOTHING SEEMED TO WORK. 1117 01:04:21,788 --> 01:04:23,238 WHENEVER THEY WERE TOGETHER, 1118 01:04:23,376 --> 01:04:26,686 BOTH SHE AND HER HUSBAND WERE MISERABLE. 1119 01:04:28,588 --> 01:04:29,728 WOMAN AS PAULINE HEMINGWAY: LIFE HERE IS GOING ON 1120 01:04:29,866 --> 01:04:31,796 JUST THE SAME AS WHEN YOU WERE HERE 1121 01:04:31,902 --> 01:04:34,972 AND IT WAS SO UNATTRACTIVE TO YOU, 1122 01:04:35,078 --> 01:04:38,008 AND IT WON'T BE ANY DIFFERENT WHEN YOU GET BACK, 1123 01:04:38,150 --> 01:04:39,630 SO, IF YOU ARE HAPPY OVER THERE, 1124 01:04:39,737 --> 01:04:42,667 DON'T COME BACK HERE TO BE UNHAPPY... 1125 01:04:43,672 --> 01:04:48,542 BUT I HOPE YOU CAN COME BACK AND WE CAN BOTH BE HAPPY. 1126 01:04:49,920 --> 01:04:52,300 [GERARDO MART ÍNEZ'S "ROM ÁNTICA MUJER" PLAYING] 1127 01:05:02,933 --> 01:05:05,493 NARRATOR: IN THE EARLY SPRING OF 1939, 1128 01:05:05,591 --> 01:05:07,701 HEMINGWAY WAS IN CUBA AGAIN, 1129 01:05:07,869 --> 01:05:12,249 WORKING ON A NEW NOVEL SET DURING THE SPANISH CIVIL WAR, 1130 01:05:12,391 --> 01:05:16,021 TO BE CALLED "FOR WHOM THE BELL TOLLS." 1131 01:05:16,119 --> 01:05:19,329 HE HAD INVITED GELLHORN TO JOIN HIM. 1132 01:05:20,917 --> 01:05:23,297 WOMAN AS GELLHORN: IT IS EXACTLY AS IF HE WERE DEAD 1133 01:05:23,436 --> 01:05:25,676 OR VISITING ON THE MOON. 1134 01:05:25,783 --> 01:05:27,343 HE WRITES AND WHEN HE IS THROUGH 1135 01:05:27,509 --> 01:05:29,679 HE GOES INTO A SILENCE. 1136 01:05:31,444 --> 01:05:34,034 HE PROTECTS HIMSELF FROM ANYTHING AND EVERYTHING, 1137 01:05:34,137 --> 01:05:36,067 TAKES NO PART IN THIS WORLD, 1138 01:05:36,208 --> 01:05:39,558 CARES ABOUT NOTHING EXCEPT WHAT HE IS WRITING. 1139 01:05:39,728 --> 01:05:42,458 HE'S ABOUT AS MUCH USE AS A STUFFED SQUIRREL, 1140 01:05:42,593 --> 01:05:45,913 BUT HE IS TURNING OUT A BEAUTIFUL STORY. 1141 01:05:46,045 --> 01:05:49,385 AND NOTHING ON EARTH BESIDES MATTERS TO HIM. 1142 01:05:49,566 --> 01:05:51,636 YOU SEE, THAT'S THE WAY TO BE. 1143 01:05:51,775 --> 01:05:54,565 THAT WAY YOU GET WRITING DONE. 1144 01:05:54,674 --> 01:05:57,264 HE LIKEWISE BELIEVES IN HIMSELF AND HIS WRITING 1145 01:05:57,401 --> 01:06:01,301 AS IF IT WERE THE TABLETS OF STONE OR THE TRUE GOD, 1146 01:06:01,440 --> 01:06:03,930 AND THAT'S ANOTHER ESSENTIAL. 1147 01:06:06,583 --> 01:06:07,793 NARRATOR: NO MATTER HOW MUCH GELLHORN 1148 01:06:07,929 --> 01:06:09,999 BELIEVED IN HEMINGWAY AND HIS WORK, 1149 01:06:10,138 --> 01:06:14,558 LIVING COOPED UP IN A HAVANA HOTEL WITH HIM DAY AFTER DAY, 1150 01:06:14,660 --> 01:06:16,350 TRYING TO DO HER OWN WRITING 1151 01:06:16,489 --> 01:06:18,939 WHILE HE LABORED OVER HIS TYPEWRITER, 1152 01:06:19,078 --> 01:06:21,668 DID NOT APPEAL FOR LONG, 1153 01:06:21,805 --> 01:06:25,595 SO, SHE RENTED A RUN-DOWN, 10-ACRE, HILL-TOP PROPERTY, 1154 01:06:25,774 --> 01:06:30,374 12 MILES OUTSIDE THE CITY, CALLED FINCA VIG ÍA-- 1155 01:06:30,503 --> 01:06:33,583 SPANISH FOR "LOOKOUT FARM." 1156 01:06:36,993 --> 01:06:38,343 WOMAN AS GELLHORN: I WOKE TO LOOK OUT MY WINDOW 1157 01:06:38,477 --> 01:06:40,437 AT A CEIBA TREE, SO BEAUTIFUL 1158 01:06:40,617 --> 01:06:42,717 THAT YOU CAN'T BELIEVE IT, 1159 01:06:42,860 --> 01:06:46,860 AND HEAR THE PALMS RATTLING IN THE MORNING WIND, 1160 01:06:47,003 --> 01:06:51,153 AND THE SUN STREAKING OVER THE TILED FLOORS, 1161 01:06:51,283 --> 01:06:57,193 AND THE HOUSE ITSELF, WIDE AND BARE AND CLEAN AND EMPTY, 1162 01:06:57,323 --> 01:06:59,953 LYING QUIET ALL AROUND ME. 1163 01:07:00,119 --> 01:07:02,949 AND I AM DELIGHTED. 1164 01:07:03,053 --> 01:07:04,743 NARRATOR: HEMINGWAY WAS DELIGHTED, TOO, 1165 01:07:04,882 --> 01:07:07,992 AND WOULD EVENTUALLY BUY THE PLACE OUTRIGHT. 1166 01:07:08,093 --> 01:07:12,513 THE FINCA WOULD BE HIS HOME FOR THE NEXT TWO DECADES. 1167 01:07:14,409 --> 01:07:16,619 [PADURA SPEAKING SPANISH] 1168 01:07:56,796 --> 01:07:58,936 MAN AS HEMINGWAY: PEOPLE ASK YOU WHY YOU LIVE IN CUBA 1169 01:07:59,075 --> 01:08:02,415 AND YOU SAY IT IS BECAUSE YOU LIKE IT. 1170 01:08:02,561 --> 01:08:04,181 IT IS TOO COMPLICATED TO EXPLAIN ABOUT 1171 01:08:04,287 --> 01:08:07,767 THE EARLY MORNING IN THE HILLS ABOVE HAVANA 1172 01:08:07,911 --> 01:08:10,191 WHERE EVERY MORNING IS COOL AND FRESH 1173 01:08:10,293 --> 01:08:12,613 ON THE HOTTEST DAY IN SUMMER. 1174 01:08:12,743 --> 01:08:14,443 YOU COULD TELL THEM THAT YOU LIVE IN CUBA 1175 01:08:14,573 --> 01:08:16,543 BECAUSE YOU ONLY HAVE TO PUT SHOES ON 1176 01:08:16,644 --> 01:08:18,444 WHEN YOU COME INTO TOWN, 1177 01:08:18,577 --> 01:08:22,127 AND THAT YOU WORK AS WELL THERE IN THOSE COOL EARLY MORNINGS 1178 01:08:22,270 --> 01:08:25,580 AS YOU EVER HAVE WORKED ANYWHERE IN THE WORLD. 1179 01:08:27,068 --> 01:08:29,588 BUT THOSE ARE PROFESSIONAL SECRETS. 1180 01:08:33,212 --> 01:08:35,802 PATRICK: I THINK WHAT HE LIKED ABOUT CUBA AND... 1181 01:08:35,939 --> 01:08:38,599 AND WHY IT WAS SO BAD WHEN IT WENT SOUR 1182 01:08:38,735 --> 01:08:43,875 WAS HE COULD REALLY INSULATE HIMSELF FROM BEING AN AMERICAN; 1183 01:08:44,050 --> 01:08:47,050 HE COULD JUST COMPLETELY LEAVE THAT BEHIND, 1184 01:08:47,226 --> 01:08:50,636 ENTER A WORLD WHERE HE HAD NO LOYALTIES, 1185 01:08:50,781 --> 01:08:52,891 HE HAD NO REGRETS, NOTHING. 1186 01:08:53,059 --> 01:08:56,409 IT WAS A SORT OF NEUTRAL CORNER FOR HIM. 1187 01:08:56,580 --> 01:08:58,410 MUCH HAS BEEN MADE BY THE CUBANS 1188 01:08:58,513 --> 01:09:00,343 OF HIS LOVE OF THE CUBAN PEOPLE. 1189 01:09:00,481 --> 01:09:02,791 I DON'T THINK HE HAD MUCH FEELING [CHUCKLES] 1190 01:09:02,931 --> 01:09:04,421 FOR THE CUBAN PEOPLE AT ALL. 1191 01:09:04,588 --> 01:09:10,868 BUT...AH...HE...HE...AH...HE COULDN'T BE IN SPAIN 1192 01:09:11,008 --> 01:09:13,668 AND THIS WAS THE SECOND BEST, YOU KNOW. 1193 01:09:13,804 --> 01:09:15,944 [TURNER LAYTON & HENRY CREAMER'S "AFTER YOU'VE GONE [INSTRUMENTAL]" PLAYING] 1194 01:09:16,048 --> 01:09:18,568 WOMAN AS GELLHORN: I AM NOW SUDDENLY A MOTHER OF 3 1195 01:09:18,740 --> 01:09:20,850 AND I MUST SAY I LOVE IT. 1196 01:09:20,984 --> 01:09:24,024 IT'S CERTAINLY A LOT MORE FUN TO BE A MOTHER OF 3 1197 01:09:24,160 --> 01:09:26,960 WITHOUT EVER HAVING TO LOSE YOUR SHAPE 1198 01:09:27,093 --> 01:09:29,963 THAN BEING A MOTHER OF ONE, YOUR OWN, 1199 01:09:30,131 --> 01:09:33,241 AND NOT KNOWING HOW THE BRAT WILL TURN OUT. 1200 01:09:34,549 --> 01:09:36,659 NARRATOR: HEMINGWAY'S SONS WOULD COME TO VISIT-- 1201 01:09:36,793 --> 01:09:38,863 AND BEGIN TO GET TO KNOW THE WOMAN WITH WHOM 1202 01:09:39,002 --> 01:09:42,212 THEIR FATHER WAS NOW OPENLY LIVING. 1203 01:09:42,350 --> 01:09:44,590 PATRICK: SHE WAS WONDERFUL WITH US. 1204 01:09:44,766 --> 01:09:45,936 I...I REALLY LOVED HER 1205 01:09:46,112 --> 01:09:48,842 AND SHE WAS A WONDERFUL PERSON. 1206 01:09:48,977 --> 01:09:52,147 NARRATOR: GREGORY REMEMBERED HOW BEAUTIFUL MARTHA SEEMED 1207 01:09:52,257 --> 01:09:56,157 AND HER WILLINGNESS TO LISTEN TO THE OPINIONS OF A 9-YEAR-OLD, 1208 01:09:56,295 --> 01:09:59,255 "AND AT LEAST PRETEND TO GIVE THEM WEIGHT." 1209 01:10:00,299 --> 01:10:02,129 BUMBY LIKED HER, TOO, HE REMEMBERED. 1210 01:10:02,301 --> 01:10:04,991 "I WAS OVERWHELMED BY THIS MARVELOUS CREATURE 1211 01:10:05,131 --> 01:10:07,651 "WHO COULD SAY THE "F" WORD SO NATURALLY 1212 01:10:07,824 --> 01:10:10,034 "THAT IT DIDN'T SOUND DIRTY. 1213 01:10:10,171 --> 01:10:12,791 I WAS HER IMMEDIATE CAPTIVE." 1214 01:10:14,002 --> 01:10:15,562 WOMAN AS GELLHORN: THEY ALL THINK I AM A SORT OF 1215 01:10:15,694 --> 01:10:18,524 COLOSSAL JOKE AND ONE OF THE BOYS 1216 01:10:18,662 --> 01:10:20,662 AND REFER TO ME AS "THE MARTY," 1217 01:10:20,837 --> 01:10:22,867 AND I THINK IT ALL GOES VERY FINE. 1218 01:10:23,011 --> 01:10:27,151 ANYHOW I AM NUTS FOR THEM, WHICH IS A GRAND THING. 1219 01:10:31,192 --> 01:10:34,712 NARRATOR: ERNEST RETURNED FROM TIME TO TIME TO KEY WEST 1220 01:10:34,851 --> 01:10:37,201 TO SEE HIS CHILDREN DURING THE SCHOOL YEAR-- 1221 01:10:37,371 --> 01:10:41,241 AND TO SEE IF HE AND PAULINE COULD SOMEHOW MAKE IT WORK. 1222 01:10:43,273 --> 01:10:47,733 OVER THEIR 15 YEARS TOGETHER-- 13 AS A MARRIED COUPLE-- 1223 01:10:47,864 --> 01:10:50,114 HEMINGWAY HAD RISEN TO A KIND OF FAME 1224 01:10:50,246 --> 01:10:54,556 NO AMERICAN WRITER SINCE MARK TWAIN HAD ENJOYED. 1225 01:10:54,698 --> 01:10:56,248 ALL THAT TIME, PAULINE HAD 1226 01:10:56,390 --> 01:10:59,150 DEVOTED HERSELF TO HIS WELL-BEING, 1227 01:10:59,289 --> 01:11:03,259 OFTEN ACTED AS HIS EDITOR, AND SHE AND HER FAMILY 1228 01:11:03,397 --> 01:11:08,087 HAD PROVIDED FINANCIAL SUPPORT BETWEEN BOOKS. 1229 01:11:08,229 --> 01:11:13,059 BUT IN THE END, NONE OF IT WOULD SEEM TO MATTER TO HIM. 1230 01:11:15,132 --> 01:11:17,242 EDNA: O'BRIEN: WHEN PEOPLE WANT TO GO AWAY, 1231 01:11:17,376 --> 01:11:19,066 THERE ARE TWO THINGS ATTACHED TO IT. 1232 01:11:19,205 --> 01:11:22,855 ONE IS ADVENTURE AND NEW THINGS, 1233 01:11:23,037 --> 01:11:24,557 NEW SIGHTS, NEW SCENES, 1234 01:11:24,659 --> 01:11:26,559 DANGER, WHATEVER. 1235 01:11:26,661 --> 01:11:29,321 BUT THE OTHER, WHICH I BELIEVE, 1236 01:11:29,457 --> 01:11:33,457 AGAIN, IT IS ONLY MY HUNCH, 1237 01:11:33,599 --> 01:11:35,879 IS TO ESCAPE HIS OWN FAMILY. 1238 01:11:37,120 --> 01:11:39,710 WRITERS DO. THEY HAVE TO. 1239 01:11:41,124 --> 01:11:43,444 MAN AS HEMINGWAY: MEN WANT SOMEONE NEW, 1240 01:11:43,575 --> 01:11:45,015 OR SOMEONE YOUNGER, 1241 01:11:45,162 --> 01:11:47,412 OR SOMEONE THAT THEY SHOULDN'T HAVE, 1242 01:11:47,579 --> 01:11:51,409 OR SOMEONE THAT LOOKS LIKE SOMEONE ELSE. 1243 01:11:51,514 --> 01:11:53,104 THE BETTER YOU TREAT A MAN 1244 01:11:53,239 --> 01:11:55,999 AND THE MORE YOU SHOW HIM YOU LOVE HIM, 1245 01:11:56,139 --> 01:11:59,629 THE QUICKER HE GETS TIRED OF YOU. 1246 01:11:59,763 --> 01:12:02,703 DEARBORN: HE SAYS TO PAULINE, "YOU TOOK ME FROM HADLEY 1247 01:12:02,835 --> 01:12:05,415 "AND NOW MARTHA IS TAKING ME FROM YOU. 1248 01:12:05,597 --> 01:12:07,697 "WHAT GOES AROUND, COMES AROUND. 1249 01:12:07,840 --> 01:12:09,810 LIVE BY THE SWORD, DIE BY THE SWORD." 1250 01:12:09,946 --> 01:12:14,116 AND I THINK THAT WAS A REALLY ROTTEN THING TO TELL PAULINE. 1251 01:12:14,226 --> 01:12:17,816 I MEAN, PAULINE MADE POSSIBLE SOME OF HIS BEST WORK. 1252 01:12:17,954 --> 01:12:20,164 AND SHE'S HIS BEST READER. 1253 01:12:20,301 --> 01:12:22,611 NARRATOR: AS A CATHOLIC, PAULINE WAS RELUCTANT 1254 01:12:22,717 --> 01:12:25,267 TO GRANT HEMINGWAY A DIVORCE. 1255 01:12:25,444 --> 01:12:29,174 THERE WERE ANGRY ACCUSATIONS FROM BOTH SIDES. 1256 01:12:29,310 --> 01:12:32,730 GREGORY REMEMBERED "SHOUTING IN OTHER ROOMS, 1257 01:12:32,865 --> 01:12:35,515 "DOORS SLAMMING, MOTHER SCURRYING 1258 01:12:35,661 --> 01:12:38,351 OUT OF THEIR BEDROOM CRYING." 1259 01:12:39,458 --> 01:12:41,288 PATRICK: YOU KNOW, BY 1939 IT WAS, 1260 01:12:41,391 --> 01:12:43,811 OH, IT WAS JUST COMING TO AN END. 1261 01:12:44,843 --> 01:12:49,163 THE PATTERN IN OUR FAMILY WAS TO DRIVE OUT FROM FLORIDA 1262 01:12:49,295 --> 01:12:50,845 TO, TO THE WEST. 1263 01:12:50,987 --> 01:12:53,057 AND IT TOOK QUITE A WHILE. 1264 01:12:53,196 --> 01:12:56,406 AND THEY HAD TREMENDOUS ARGUMENTS, I REMEMBER. 1265 01:12:56,544 --> 01:12:59,134 AND DRIVING, YOU KNOW, WHICH ROAD TO TAKE 1266 01:12:59,305 --> 01:13:03,165 AND, JUST ON EACH OTHER ALL SUMMER LONG. 1267 01:13:04,345 --> 01:13:07,825 THEY WERE STILL NOMINALLY TOGETHER, YOU KNOW, 1268 01:13:08,004 --> 01:13:11,844 BUT HE WAS REALLY PULLING OUT. 1269 01:13:12,008 --> 01:13:14,868 NARRATOR: ON SEPTEMBER 3, 1939-- 1270 01:13:15,011 --> 01:13:18,261 TWO DAYS AFTER HITLER'S FORCES INVADED POLAND, 1271 01:13:18,394 --> 01:13:20,604 STARTING THE SECOND WORLD WAR-- 1272 01:13:20,741 --> 01:13:25,261 HEMINGWAY FINALLY TOLD PAULINE HE WAS LEAVING FOR GOOD. 1273 01:13:29,025 --> 01:13:32,025 [JOHNNY GANDELSMAN'S "THE GARDEN OF EDEN MIX 3 GUITAR STEM" PLAYING] 1274 01:13:32,166 --> 01:13:33,956 JOHN McCAIN: I WAS 12 YEARS OLD. 1275 01:13:34,099 --> 01:13:38,309 I FOUND A FOUR-LEAF CLOVER AND I BROUGHT IT IN, 1276 01:13:38,448 --> 01:13:42,688 TO PRESS IT IN A BOOK SO I COULD PRESERVE IT. 1277 01:13:42,797 --> 01:13:46,247 THAT HAPPENED TO BE "FOR WHOM THE BELL TOLLS," 1278 01:13:46,387 --> 01:13:48,557 STILL THE GREAT AMERICAN NOVEL. 1279 01:13:48,665 --> 01:13:52,945 AND I STARTED READING AND I COULDN'T STOP UNTIL I FINISHED. 1280 01:13:54,982 --> 01:13:56,122 NARRATOR: WHEN "FOR WHOM THE BELL TOLLS" 1281 01:13:56,259 --> 01:13:59,299 WAS PUBLISHED IN OCTOBER OF 1940, 1282 01:13:59,435 --> 01:14:02,295 EUROPE AND ASIA WERE ENGULFED IN A WORLD WAR 1283 01:14:02,438 --> 01:14:04,888 FAR MORE CATACLYSMIC THAN THE ONE 1284 01:14:04,992 --> 01:14:06,822 IN WHICH HEMINGWAY HAD BEEN WOUNDED. 1285 01:14:06,959 --> 01:14:09,379 [JOHNNY GANDELSMAN'S "THE GARDEN OF EDEN MIX 3 BASS STEM" PLAYING] 1286 01:14:21,836 --> 01:14:24,216 [JOHNNY GANDELSMAN'S "THE GARDEN OF EDEN MIX 3 PERC STEM" PLAYING] 1287 01:14:30,500 --> 01:14:31,980 VAILL: BY THE TIME "FOR WHOM THE BELL TOLLS" 1288 01:14:32,122 --> 01:14:34,822 CAME OUT IN 1940, 1289 01:14:34,953 --> 01:14:38,403 WAR IN EUROPE WAS A REALITY. 1290 01:14:38,508 --> 01:14:43,438 FRANCE HAD FALLEN. IT WAS DO OR DIE TIME. 1291 01:14:43,548 --> 01:14:47,588 THE QUESTIONS THAT HEMINGWAY RAISES IN THAT NOVEL 1292 01:14:47,759 --> 01:14:49,929 WERE INCREDIBLY URGENT. 1293 01:14:50,106 --> 01:14:53,766 AND IT WAS CLEAR THAT THE BELL WAS TOLLING 1294 01:14:53,868 --> 01:14:56,798 FOR EVERYBODY IN THIS COUNTRY, NOT JUST FOR THE PEOPLE 1295 01:14:56,940 --> 01:14:59,050 IN FRANCE AND IN ENGLAND OR SPAIN. 1296 01:14:59,184 --> 01:15:01,294 [BACH'S "PARTITIA FOR SOLO VIOLIN NO.1 IN B MINOR V SARABANDE VARIATION 5" PLAYING] 1297 01:15:02,325 --> 01:15:05,015 NARRATOR: THE STORY IS SET IN 1937, 1298 01:15:05,155 --> 01:15:07,185 WHEN THE DEFEAT OF FRANCO'S FORCES 1299 01:15:07,330 --> 01:15:09,640 HAD STILL SEEMED POSSIBLE. 1300 01:15:10,851 --> 01:15:14,481 ITS HERO IS AN IDEALISTIC YOUNG AMERICAN COLLEGE INSTRUCTOR 1301 01:15:14,579 --> 01:15:18,579 NAMED ROBERT JORDAN, WITH SOME KNOWLEDGE OF EXPLOSIVES 1302 01:15:18,721 --> 01:15:23,351 AND NO POLITICAL AFFILIATION OTHER THAN HATRED OF FASCISM, 1303 01:15:23,484 --> 01:15:27,144 WHO FINDS HIMSELF PART OF A GUERILLA BAND THAT UNDERTAKES 1304 01:15:27,246 --> 01:15:31,036 A DOOMED MISSION TO DYNAMITE A BRIDGE. 1305 01:15:32,355 --> 01:15:34,455 McCAIN: MY HERO IS ROBERT JORDAN. 1306 01:15:34,633 --> 01:15:37,713 ROBERT JORDAN IS AS REAL TO ME AS YOU ARE. 1307 01:15:37,843 --> 01:15:41,473 HE WAS WORKING AS A PROFESSOR IN THE UNIVERSITY OF MONTANA. 1308 01:15:41,571 --> 01:15:43,021 BUT HE HEARD ABOUT THIS STRUGGLE. 1309 01:15:43,159 --> 01:15:44,989 HE KNEW ABOUT FASCISM. HE KNEW WHAT 1310 01:15:45,161 --> 01:15:47,991 HITLER AND MUSSOLINI WERE DOING. 1311 01:15:48,164 --> 01:15:50,414 AND HE DECIDED TO GO AND FIGHT 1312 01:15:50,546 --> 01:15:53,126 ON BEHALF OF PEOPLE HE HAD NEVER MET 1313 01:15:53,238 --> 01:15:55,588 AND HE DID NOT KNOW. 1314 01:15:55,723 --> 01:16:00,663 EVEN KNOWING THAT THAT CAUSE WAS A FLAWED CAUSE. 1315 01:16:02,419 --> 01:16:05,149 BUT HE WAS WILLING TO FIGHT AND DO 1316 01:16:05,319 --> 01:16:07,559 WHATEVER HE THOUGHT HE COULD 1317 01:16:07,701 --> 01:16:11,051 FOR THE CAUSE OF JUSTICE AND FREEDOM. 1318 01:16:11,187 --> 01:16:14,017 I ALWAYS WANTED TO BE ROBERT JORDAN. 1319 01:16:16,433 --> 01:16:19,713 NARRATOR: ROBERT JORDAN IS WILLING TO KILL--AND TO DIE-- 1320 01:16:19,851 --> 01:16:23,411 TO CARRY OUT THE ORDERS OF A SOVIET GENERAL, 1321 01:16:23,544 --> 01:16:26,274 BUT HE CANNOT ESCAPE HIS GROWING BELIEF 1322 01:16:26,409 --> 01:16:30,519 THAT THE WAR HAS BECOME "AN IDIOCY WITHOUT BOUNDS." 1323 01:16:31,621 --> 01:16:33,071 VAILL: IT'S A MUCH MORE 3-DIMENSIONAL 1324 01:16:33,209 --> 01:16:35,069 PORTRAYAL OF THE STRUGGLE 1325 01:16:35,211 --> 01:16:37,631 THAN HE HAD ALLOWED HIMSELF TO GIVE 1326 01:16:37,765 --> 01:16:41,215 WHEN HE WAS OSTENSIBLY WRITING JOURNALISM ABOUT IT. 1327 01:16:41,320 --> 01:16:43,050 IT'S PRETTY INTERESTING THAT THE NOVEL IS 1328 01:16:43,150 --> 01:16:44,700 MORE TRUTHFUL THAN THE JOURNALISM. 1329 01:16:44,807 --> 01:16:47,327 [JOHNNY GANDELSMAN'S "THE GARDEN OF EDEN MIX 3" PLAYING] 1330 01:16:47,464 --> 01:16:50,924 NARRATOR: THERE ARE ATROCITIES COMMITTED BY BOTH SIDES, 1331 01:16:51,054 --> 01:16:53,134 INCLUDING THE LOYALISTS' SLAUGHTER OF 1332 01:16:53,263 --> 01:16:55,613 CIVILIAN FASCIST SYMPATHIZERS, 1333 01:16:55,749 --> 01:16:57,889 WHO ARE FORCED TO RUN A BRUTAL GAUNTLET, 1334 01:16:57,992 --> 01:17:02,382 THEN HURLED FROM THE CLIFFS IN AN ANDALUSIAN TOWN. 1335 01:17:03,895 --> 01:17:05,825 MAN AS HEMINGWAY: THEY CLUBBED HIM TO DEATH VERY QUICKLY, 1336 01:17:05,966 --> 01:17:09,826 BEATING HIM AS SOON AS HE REACHED THE FIRST OF THE MEN, 1337 01:17:09,970 --> 01:17:13,150 BEATING HIM AS HE TRIED TO WALK WITH HIS HEAD UP, 1338 01:17:13,283 --> 01:17:16,293 BEATING HIM UNTIL HE FELL AND CHOPPING AT HIM 1339 01:17:16,424 --> 01:17:19,364 WITH REAPING HOOKS AND THE SICKLES, 1340 01:17:19,496 --> 01:17:21,456 AND MANY MEN BORE HIM TO THE EDGE OF THE CLIFF 1341 01:17:21,602 --> 01:17:23,742 TO THROW HIM OVER AND THERE WAS BLOOD NOW 1342 01:17:23,846 --> 01:17:27,016 ON THEIR HANDS AND ON THEIR CLOTHING, 1343 01:17:27,159 --> 01:17:28,569 AND NOW BEGAN TO BE THE FEELING THAT 1344 01:17:28,678 --> 01:17:32,298 THESE WHO CAME OUT WERE TRULY ENEMIES 1345 01:17:32,440 --> 01:17:34,240 AND SHOULD BE KILLED. 1346 01:17:37,618 --> 01:17:40,308 NARRATOR: ROBERT JORDAN MANAGES TO BLOW UP THE BRIDGE 1347 01:17:40,448 --> 01:17:42,618 BUT IS BADLY WOUNDED. 1348 01:17:42,761 --> 01:17:47,351 AT THE NOVEL'S CLIMAX, HE LIES ALONE, IMMOBILIZED, 1349 01:17:47,490 --> 01:17:50,600 ON A WOODED SLOPE, WAITING WITH HIS RIFLE 1350 01:17:50,769 --> 01:17:53,809 AS A FASCIST PATROL COMES CLOSER. 1351 01:17:54,946 --> 01:17:57,466 VAILL: THE END OF THAT NOVEL IS AS GOOD AS 1352 01:17:57,569 --> 01:18:00,679 ANYTHING HEMINGWAY EVER WROTE, I THINK. 1353 01:18:00,814 --> 01:18:04,304 HEMINGWAY ALL HIS LIFE IS WRESTLING WITH 1354 01:18:04,403 --> 01:18:08,133 QUESTIONS OF DEATH AND SUICIDE AND WHETHER IT 1355 01:18:08,304 --> 01:18:09,964 HURTS VERY MUCH TO DIE, DADDY, 1356 01:18:10,133 --> 01:18:12,623 OR IT DOESN'T, WHETHER THAT IS 1357 01:18:12,791 --> 01:18:15,311 THE BRAVE THING TO DO, THE RIGHT THING TO DO, 1358 01:18:15,483 --> 01:18:17,453 OR WHETHER IT'S THE COWARD'S WAY OUT. 1359 01:18:17,623 --> 01:18:20,493 HE'S WRESTLING WITH THAT ALL HIS LIFE. 1360 01:18:22,801 --> 01:18:25,081 NARRATOR: JORDAN'S FATHER, THE READER LEARNS, 1361 01:18:25,217 --> 01:18:28,457 LIKE HEMINGWAY'S, HAD KILLED HIMSELF. 1362 01:18:29,912 --> 01:18:32,602 MAN AS HEMINGWAY: OH, LET THEM COME, HE SAID. 1363 01:18:32,742 --> 01:18:35,642 I DON'T WANT TO DO THAT BUSINESS THAT MY FATHER DID. 1364 01:18:37,747 --> 01:18:40,647 I WILL DO IT ALL RIGHT BUT I'D MUCH PREFER NOT TO HAVE TO. 1365 01:18:40,750 --> 01:18:44,890 I'M AGAINST THAT. DON'T THINK ABOUT THAT. 1366 01:18:45,030 --> 01:18:46,690 DON'T THINK AT ALL. 1367 01:18:48,240 --> 01:18:50,480 I WISH THE BASTARDS WOULD COME, HE SAID. 1368 01:18:50,656 --> 01:18:53,306 I WISH SO VERY MUCH THEY'D COME. 1369 01:18:54,868 --> 01:18:57,248 I GUESS I'M NOT AWFULLY GOOD AT PAIN. 1370 01:18:57,387 --> 01:18:58,697 LISTEN, IF I DO THAT NOW 1371 01:18:58,837 --> 01:19:02,077 YOU WOULDN'T MISUNDERSTAND, WOULD YOU? 1372 01:19:02,220 --> 01:19:06,430 WHO ARE YOU TALKING TO? NOBODY, HE SAID. 1373 01:19:06,569 --> 01:19:11,509 GRANDFATHER, I GUESS. NO. NOBODY. 1374 01:19:14,094 --> 01:19:17,034 THINK ABOUT MONTANA. I CAN'T. 1375 01:19:17,131 --> 01:19:20,451 THINK ABOUT MADRID. I CAN'T. 1376 01:19:20,583 --> 01:19:23,383 THINK ABOUT A COOL DRINK OF WATER. 1377 01:19:23,482 --> 01:19:27,352 ALL RIGHT. THAT'S WHAT IT WILL BE LIKE. 1378 01:19:27,452 --> 01:19:29,772 LIKE A COOL DRINK OF WATER. 1379 01:19:31,249 --> 01:19:35,489 YOU'RE A LIAR. IT WILL JUST BE NOTHING. 1380 01:19:35,632 --> 01:19:38,812 THAT'S ALL IT WILL BE. JUST NOTHING. 1381 01:19:38,946 --> 01:19:45,536 THEN DO IT. DO IT. DO IT NOW. 1382 01:19:45,642 --> 01:19:48,472 IT'S ALL RIGHT TO DO IT NOW. 1383 01:19:48,611 --> 01:19:54,621 GO ON AND DO IT NOW. NO, YOU HAVE TO WAIT. 1384 01:19:54,755 --> 01:20:00,205 WHAT FOR? YOU KNOW ALL RIGHT. THEN WAIT. 1385 01:20:05,248 --> 01:20:07,728 NARRATOR: WHEN "FOR WHOM THE BELL TOLLS" WAS PUBLISHED, 1386 01:20:07,837 --> 01:20:10,147 MARXIST CRITICS ATTACKED THE NOVEL 1387 01:20:10,288 --> 01:20:11,878 AS A BETRAYAL OF THEIR CAUSE 1388 01:20:12,014 --> 01:20:17,434 BECAUSE IT SHOWED SYMPATHY FOR THE WAR'S VICTIMS ON BOTH SIDES. 1389 01:20:17,605 --> 01:20:21,435 OTHERS FOUND THE LOVE AFFAIR BETWEEN ROBERT JORDAN AND MARIA, 1390 01:20:21,609 --> 01:20:25,269 A LOYALIST GUERILLA FIGHTER, CLOYING. 1391 01:20:25,372 --> 01:20:27,582 [VARGAS LLOSA SPEAKING SPANISH] 1392 01:20:55,057 --> 01:20:57,297 [LAUGHS] 1393 01:20:57,473 --> 01:20:59,723 NARRATOR: DESPITE SOME NEGATIVE REVIEWS, 1394 01:20:59,855 --> 01:21:03,375 THE NOVEL SOLD "LIKE FROZEN DAIQUIRIS IN HELL," 1395 01:21:03,513 --> 01:21:06,973 HEMINGWAY BOASTED TO HIS FIRST WIFE HADLEY; 1396 01:21:07,138 --> 01:21:10,798 NEARLY HALF A MILLION COPIES IN LESS THAN 6 MONTHS. 1397 01:21:10,969 --> 01:21:15,009 ONLY "GONE WITH THE WIND" HAD SOLD FASTER. 1398 01:21:15,111 --> 01:21:19,321 "HEMINGWAY THE ARTIST IS WITH US AGAIN," EDMUND WILSON WROTE, 1399 01:21:19,426 --> 01:21:22,736 "AND IT IS LIKE HAVING AN OLD FRIEND BACK." 1400 01:21:22,878 --> 01:21:25,428 PARAMOUNT BOUGHT THE MOVIE RIGHTS. 1401 01:21:25,570 --> 01:21:26,880 "THE NEW YORK TIMES" DECLARED IT 1402 01:21:27,020 --> 01:21:29,540 THE FINEST BOOK HEMINGWAY HAD WRITTEN-- 1403 01:21:29,677 --> 01:21:33,917 "THE FULLEST, THE DEEPEST, THE TRUEST." 1404 01:21:34,061 --> 01:21:35,751 KATAKIS: I LOVE THAT BOOK. I MEAN, 1405 01:21:35,891 --> 01:21:39,241 IT'S THE "RAIDERS OF THE LOST ARK" OF ITS TIME... 1406 01:21:39,377 --> 01:21:42,407 AH...ONLY WITH MORE DEPTH AND MEANING. 1407 01:21:42,552 --> 01:21:45,282 SOMEONE WHO IS SACRIFICING HIMSELF 1408 01:21:45,417 --> 01:21:48,767 FOR SOMETHING HE BELIEVES IN. 1409 01:21:48,904 --> 01:21:52,844 McCAIN: FRIENDSHIP, SACRIFICE, ROMANCE, 1410 01:21:52,942 --> 01:21:56,122 THAT NOTHING IS ROMANTIC AS THAT, UH, 1411 01:21:56,256 --> 01:21:59,086 BETWEEN ROBERT JORDAN AND MARIA IN THAT, UH, 1412 01:21:59,224 --> 01:22:01,544 IN THAT, UH, BOOK, 1413 01:22:01,640 --> 01:22:06,020 AND, I THINK, SERVING A CAUSE GREATER THAN YOURSELF. 1414 01:22:06,128 --> 01:22:07,538 I THINK THE IMPORTANT LESSON 1415 01:22:07,715 --> 01:22:11,405 THAT HEMINGWAY WAS TRYING TO IMPART TO US 1416 01:22:11,547 --> 01:22:14,447 THAT NO MAN IS AN ISLAND WITHIN HIMSELF. 1417 01:22:14,584 --> 01:22:16,694 ASK NOT FOR WHOM THE BELL TOLLS. 1418 01:22:18,036 --> 01:22:23,386 WE DO IN LIFE WHAT WE ARE RESPONSIBLE FOR. 1419 01:22:23,559 --> 01:22:26,699 WE, IN OUR LIVES, MAKE CERTAIN CHOICES. 1420 01:22:27,977 --> 01:22:29,387 "I HAVE FOUGHT HARD FOR WHAT I BELIEVED IN 1421 01:22:29,530 --> 01:22:30,950 "FOR A YEAR NOW. 1422 01:22:31,084 --> 01:22:34,574 "IF WE WIN HERE WE WILL WIN EVERYWHERE. 1423 01:22:34,673 --> 01:22:38,573 "THE WORLD IS A FINE PLACE AND WORTH THE FIGHTING FOR 1424 01:22:38,677 --> 01:22:41,777 AND I HATE VERY MUCH TO LEAVE IT." 1425 01:22:46,168 --> 01:22:48,548 [J. GREEN, E. HEYMAN, R. SOUR, F. EYTON'S "BODY AND SOUL" PLAYING] 1426 01:22:50,827 --> 01:22:51,927 MAN AS HEMINGWAY: IF YOU HAVE DECIDED THAT YOU 1427 01:22:52,070 --> 01:22:53,310 DON'T WANT TO MARRY ME, 1428 01:22:53,451 --> 01:22:55,661 WILL YOU PLEASE TELL ME NOW. 1429 01:22:59,940 --> 01:23:02,560 IF YOU DO, I WILL BORE YOU LESS 1430 01:23:02,667 --> 01:23:03,907 AND AMUSE YOU MORE 1431 01:23:04,013 --> 01:23:06,773 THAN ANYONE ELSE YOU'LL EVER MARRY 1432 01:23:06,878 --> 01:23:08,908 AND YOU HAVE NEVER SEEN ME WITH A BIG SUCCESS 1433 01:23:09,018 --> 01:23:11,088 BUT I HAVE BEEN AROUND WHEN THAT HAPPENED BEFORE 1434 01:23:11,193 --> 01:23:13,613 AND I CAN PROMISE YOU TRULY THAT YOU WILL SEE 1435 01:23:13,712 --> 01:23:18,512 THE MODESTEST SON OF A BITCH YOU EVER SAW TRULY. 1436 01:23:18,648 --> 01:23:21,758 I ONLY BRAG WHEN I AM ON MY ASS. 1437 01:23:22,963 --> 01:23:25,863 WOMAN AS GELLHORN: THERE IS MUCH DIVORCE TALK GOING ON, 1438 01:23:26,001 --> 01:23:29,381 AND PROBABLY IT WILL ACTUALLY MATERIALIZE IN DUE COURSE 1439 01:23:29,521 --> 01:23:31,631 AND I WILL BE MADE AN HONEST WOMAN. 1440 01:23:31,730 --> 01:23:33,800 THEY OUGHT TO PUT IT IN THE YEARBOOK: 1441 01:23:33,905 --> 01:23:37,425 GELLHORN, THE FIRST OF HER CLASS TO SIN, 1442 01:23:37,598 --> 01:23:40,498 THE LAST TO LEGALIZE. 1443 01:23:41,809 --> 01:23:43,359 NARRATOR: HEMINGWAY'S DIVORCE FROM PAULINE 1444 01:23:43,501 --> 01:23:47,611 BECAME FINAL ON NOVEMBER 4, 1940. 1445 01:23:47,781 --> 01:23:50,851 17 DAYS LATER, ON NOVEMBER 21, 1446 01:23:50,991 --> 01:23:52,821 ERNEST HEMINGWAY AND MARTHA GELLHORN 1447 01:23:52,958 --> 01:23:56,478 WERE MARRIED IN CHEYENNE, WYOMING. 1448 01:23:56,583 --> 01:24:00,663 SHE WAS 32. HE WAS 41. 1449 01:24:00,759 --> 01:24:03,309 "ERNEST AND I BELONG TIGHTLY TO EACH OTHER," 1450 01:24:03,417 --> 01:24:06,347 MARTHA ASSURED ELEANOR ROOSEVELT. 1451 01:24:06,489 --> 01:24:08,319 "WE ARE A GOOD PAIR AND WE ARE 1452 01:24:08,491 --> 01:24:11,601 BOTH CRAZY ABOUT BEING MARRIED." 1453 01:24:11,736 --> 01:24:15,456 NOW BOTH OF THEM WERE IN THE SPOTLIGHT. 1454 01:24:17,362 --> 01:24:19,992 HEDDA HOPPER: NO FANCY HOLLYWOOD BOOTS THESE. 1455 01:24:20,089 --> 01:24:22,399 THEY'VE TRAMPED THROUGH THE DUST AND DEATH 1456 01:24:22,540 --> 01:24:24,540 OF THE SPANISH CIVIL WAR. 1457 01:24:24,680 --> 01:24:25,680 THEY BELONG TO ERNEST HEMINGWAY, 1458 01:24:25,819 --> 01:24:27,339 FAMOUS AUTHOR AND ADVENTURER, 1459 01:24:27,510 --> 01:24:28,990 NOW ON A HUNTING TRIP IN IDAHO 1460 01:24:29,167 --> 01:24:30,857 WITH HIS PAL GARY COOPER, 1461 01:24:30,962 --> 01:24:33,862 TO WHOM THE GREAT OPEN SPACES AREN'T JUST A MOVIE LOCATION. 1462 01:24:33,999 --> 01:24:36,279 NO SIR. GARY'S IDEA OF A VACATION 1463 01:24:36,416 --> 01:24:39,936 IS TO GET AS FAR AWAY FROM HOLLYWOOD BOULEVARD AS POSSIBLE, 1464 01:24:40,075 --> 01:24:43,415 WHERE GAME DOESN'T MEAN GIN RUMMY. 1465 01:24:45,252 --> 01:24:46,672 [GUNSHOTS] 1466 01:24:47,841 --> 01:24:49,641 HER PEN NAME IS MARTHA GELLHORN, 1467 01:24:49,774 --> 01:24:52,854 BUT IN PRIVATE LIFE SHE'S MRS. ERNEST HEMINGWAY. 1468 01:24:53,018 --> 01:24:54,018 [GUNSHOT] 1469 01:24:54,192 --> 01:24:57,512 MRS. HEMINGWAY IS AN EXPERT MARKSWOMAN. 1470 01:24:58,714 --> 01:25:00,034 THE HEMINGWAYS FIRST MET IN SPAIN, 1471 01:25:00,129 --> 01:25:02,409 WHERE MRS. HEMINGWAY WAS A WAR CORRESPONDENT 1472 01:25:02,545 --> 01:25:03,955 AND ERNEST WAS GATHERING MATERIAL 1473 01:25:04,099 --> 01:25:06,759 FOR HIS NOVEL "FOR WHOM THE BELL TOLLS." 1474 01:25:09,276 --> 01:25:11,996 NARRATOR: IN 1941, THE NEWLYWED HEMINGWAYS 1475 01:25:12,141 --> 01:25:16,321 EMBARKED ON A PECULIAR SORT OF EXTENDED HONEYMOON, 1476 01:25:16,456 --> 01:25:19,006 A 4-MONTH REPORTING TRIP TO CHINA, 1477 01:25:19,148 --> 01:25:23,598 WHERE WAR WITH JAPAN HAD BEEN RAGING FOR 5 YEARS. 1478 01:25:23,739 --> 01:25:26,399 ON THE WAY, THE COUPLE HAD STOPPED IN HONOLULU, 1479 01:25:26,500 --> 01:25:30,470 WHERE THEY TOURED THE VAST NAVAL BASE AT PEARL HARBOR. 1480 01:25:30,608 --> 01:25:34,088 HEMINGWAY WORRIED ALOUD THAT SO MANY WARSHIPS AND PLANES 1481 01:25:34,267 --> 01:25:39,547 LINED UP IN TIDY ROWS WOULD INVITE A JAPANESE ATTACK. 1482 01:25:41,274 --> 01:25:44,244 HEMINGWAY HAD AGREED TO REPORT SECRETLY TO WASHINGTON 1483 01:25:44,346 --> 01:25:48,316 ON HOW HE THOUGHT THE WAR IN CHINA WAS GOING. 1484 01:25:48,453 --> 01:25:51,773 HE ALSO AGREED TO ACT AS A SECRET OPERATIVE 1485 01:25:51,939 --> 01:25:54,769 FOR THE SOVIET UNION, THOUGH IN THE END 1486 01:25:54,873 --> 01:25:59,503 HE WOULD SUPPLY NO INFORMATION TO MOSCOW. 1487 01:25:59,637 --> 01:26:01,157 [PLANE WHOOSHING] 1488 01:26:06,437 --> 01:26:08,607 [AIR RAID SIREN BLARING] 1489 01:26:10,130 --> 01:26:12,790 NARRATOR: THE WORLD WAR HEMINGWAY HAD WARNED AGAINST, 1490 01:26:12,891 --> 01:26:16,341 AND HAD HOPED HIS COUNTRY COULD AVOID, HAD COME HOME. 1491 01:26:16,481 --> 01:26:20,731 4 DAYS AFTER PEARL HARBOR, NAZI GERMANY AND FASCIST ITALY 1492 01:26:20,865 --> 01:26:23,935 DECLARED WAR ON THE UNITED STATES. 1493 01:26:24,869 --> 01:26:27,629 DURING THE NEXT 8 MONTHS, GERMAN U-BOATS SANK 1494 01:26:27,803 --> 01:26:33,883 360 MERCHANT VESSELS IN THE GULF OF MEXICO, THE CARIBBEAN, 1495 01:26:34,016 --> 01:26:37,256 AND OFF THE EASTERN COAST OF THE UNITED STATES. 1496 01:26:39,332 --> 01:26:43,922 WASHINGTON CALLED UPON CIVILIANS TO HELP PATROL THOSE WATERS. 1497 01:26:44,060 --> 01:26:48,620 THE SHIPPING LANES AROUND CUBA WERE OF SPECIAL CONCERN. 1498 01:26:50,860 --> 01:26:53,040 HEMINGWAY VOLUNTEERED TO HELP 1499 01:26:53,173 --> 01:26:55,003 AND GATHERED ABOARD THE "PILAR" 1500 01:26:55,140 --> 01:26:57,700 WHAT HE CALLED HIS "HOOLIGAN NAVY"-- 1501 01:26:57,833 --> 01:27:01,493 A MARINE SERGEANT, TWO MILLIONAIRE YACHTSMEN, 1502 01:27:01,664 --> 01:27:04,054 A VETERAN OF THE SPANISH CIVIL WAR, 1503 01:27:04,184 --> 01:27:07,434 AND SEVERAL ACTIVE JAI-ALAI PLAYERS-- 1504 01:27:07,567 --> 01:27:12,327 AND THEN PROPOSED A SPECTACULARLY FAR-FETCHED SCHEME. 1505 01:27:12,503 --> 01:27:16,513 HE HOPED TO LURE ENEMY U-BOATS TO THE SURFACE, 1506 01:27:16,679 --> 01:27:18,749 CLOSE TO WITHIN 20 YARDS, 1507 01:27:18,888 --> 01:27:20,578 MACHINE-GUN EVERYONE ON DECK 1508 01:27:20,718 --> 01:27:22,198 SO THAT THE JAI-ALAI PLAYERS 1509 01:27:22,340 --> 01:27:26,030 COULD LOB EXPLOSIVES DOWN THE HATCH. 1510 01:27:26,206 --> 01:27:29,586 HOW THE "PILAR" WAS TO AVOID BEING BLOWN TO SPLINTERS 1511 01:27:29,727 --> 01:27:32,727 BY THE GERMANS' DECK GUN WAS NEVER CLEAR, 1512 01:27:32,868 --> 01:27:34,898 BUT THE U.S. GOVERNMENT SUPPLIED HEMINGWAY 1513 01:27:35,042 --> 01:27:37,772 WITH ALL THE WEAPONRY AND COMMUNICATIONS EQUIPMENT 1514 01:27:37,907 --> 01:27:40,697 HE ASKED FOR--AND LIMITLESS, 1515 01:27:40,876 --> 01:27:45,186 OTHERWISE STRICTLY-RATIONED GASOLINE. 1516 01:27:45,294 --> 01:27:48,264 PATRICK: HE HAD US ON HIS BOAT, THE "PILAR," 1517 01:27:48,401 --> 01:27:52,271 OFF THE CUBAN COAST IN A PLACE CALLED CAYO CONFITES. 1518 01:27:52,405 --> 01:27:55,295 THERE WERE TWO BUNKS THERE, ONE ON EACH SIDE 1519 01:27:55,442 --> 01:27:58,652 AND A LITTLE HATCH THAT YOU COULD GET OUT OF. 1520 01:27:58,790 --> 01:28:01,930 AND THEY LEFT US ON THE ISLAND. 1521 01:28:02,069 --> 01:28:03,279 WHAT DO THEY CALL THE PEOPLE THAT 1522 01:28:03,416 --> 01:28:05,036 LOOK AFTER THE WELFARE OF CHILDREN? 1523 01:28:05,210 --> 01:28:06,590 THEY WOULD HAVE TAKEN US AWAY 1524 01:28:06,729 --> 01:28:10,459 FROM OUR FATHER IMMEDIATELY. [LAUGHS] 1525 01:28:10,595 --> 01:28:13,005 NARRATOR: HEMINGWAY AND HIS CREW DID KEEP WATCH 1526 01:28:13,149 --> 01:28:18,149 ON THE COUNTLESS BAYS AND INLETS AND ISLANDS ALONG CUBA'S COAST. 1527 01:28:18,293 --> 01:28:20,993 ONLY ONCE IN ALL THAT TIME DID THE "PILAR" 1528 01:28:21,123 --> 01:28:24,023 ACTUALLY SPOT AN ENEMY SUBMARINE, 1529 01:28:24,160 --> 01:28:28,990 BUT IT PROVED FAR TOO FAST AND FAR AWAY TO CATCH. 1530 01:28:29,131 --> 01:28:32,311 HEMINGWAY HIMSELF WOULD REMEMBER HIS SUBMARINE-CHASING 1531 01:28:32,445 --> 01:28:37,415 AS THAT "SEA-BORNE COMIC STRIP WE OPERATED IN THE CARIBBEAN." 1532 01:28:41,143 --> 01:28:43,323 [DAVID CIERI'S "FOR CATHERINE [NIAGARA FALLS]" PLAYING] 1533 01:28:51,947 --> 01:28:52,777 EDNA O'BRIEN: I BET WHEN HEMINGWAY WAS 1534 01:28:52,913 --> 01:28:53,813 FIRST IN LOVE WITH 1535 01:28:53,949 --> 01:28:55,469 EACH PARTICULAR WOMAN, 1536 01:28:55,606 --> 01:28:57,916 I BET HE BECAME THE BOY AGAIN. 1537 01:28:58,954 --> 01:29:02,924 BUT HE WAS A BIT OF A CONTROLLER IN LIFE 1538 01:29:03,096 --> 01:29:05,366 AND A BIT OF A BULLY AS WELL. 1539 01:29:05,512 --> 01:29:10,662 SO THAT EVERYDAY LIFE WITH HEMINGWAY WOULD BE INTOLERABLE. 1540 01:29:10,793 --> 01:29:15,633 IT WAS, I THINK, HE LOVED AS A TRUTHFUL PERSON AT FIRST 1541 01:29:15,798 --> 01:29:22,318 AND THEN BECAME THE MYTHOLOGIZED MAN IN EVERYDAY LIFE. 1542 01:29:22,495 --> 01:29:26,045 WOMAN AS GELLHORN: THE ONLY SERIOUS COMPLAINT I HAVE ABOUT MATRIMONY 1543 01:29:26,188 --> 01:29:29,708 IS THAT IT BRINGS OUT THE FAINT GOODNESS IN ME, 1544 01:29:29,847 --> 01:29:33,467 AND HAS A TENDENCY TO SOFTEN AND QUIET 1545 01:29:33,575 --> 01:29:35,465 THE HELL ON WHEELS ASPECT, 1546 01:29:35,646 --> 01:29:38,506 AND FINALLY I BECOME BORED WITH MYSELF. 1547 01:29:38,649 --> 01:29:42,859 [GUNSHOT] MY MAN IS ANOTHER HELL ON WHEELS CHARACTER, 1548 01:29:42,998 --> 01:29:45,588 AND WHAT IS SO CHRISTED ODD IS THAT 1549 01:29:45,725 --> 01:29:47,685 TWO PEOPLE CANNOT LIVE TOGETHER, 1550 01:29:47,830 --> 01:29:49,560 WITH ANY ORDER OR HEALTH, 1551 01:29:49,694 --> 01:29:53,014 IF THEY ARE BOTH HELL ON WHEELS, 1552 01:29:53,111 --> 01:29:57,561 SO, FOR THE MUTUAL GOOD, THEY MUST BOTH CALM THEMSELVES. 1553 01:29:57,702 --> 01:30:01,532 AND THAT IS A LOSS, BUT I HAVE NOT YET FOUND OUT 1554 01:30:01,672 --> 01:30:03,882 WHAT TO DO ABOUT IT. 1555 01:30:04,019 --> 01:30:08,919 ERNEST AND I REALLY ARE AFRAID OF EACH OTHER, 1556 01:30:09,058 --> 01:30:10,368 EACH ONE KNOWING THAT THE OTHER 1557 01:30:10,508 --> 01:30:13,618 IS THE MOST VIOLENT PERSON EITHER ONE KNOWS, 1558 01:30:13,753 --> 01:30:16,693 AND KNOWING SOMETHING ABOUT VIOLENCE WE ARE ALWAYS 1559 01:30:16,859 --> 01:30:21,379 MUTUALLY ALARMED AT THE POTENTIALITIES OF THE OTHER. 1560 01:30:21,485 --> 01:30:25,695 SO, WHEN WE ARE TOGETHER, WE TAKE IT FAIRLY EASY, 1561 01:30:25,799 --> 01:30:31,049 SO AS NOT TO SEE THE OTHER BURST INTO LOUD, FURIOUS FLAME. 1562 01:30:33,566 --> 01:30:36,466 NARRATOR: MARTHA GELLHORN HAD NO INTENTION OF STAYING HOME 1563 01:30:36,603 --> 01:30:39,233 WITH HER HUSBAND AS PAULINE HAD. 1564 01:30:39,330 --> 01:30:42,540 AND AT FIRST, HE ENCOURAGED HER WORK. 1565 01:30:43,783 --> 01:30:46,543 MAN AS HEMINGWAY: I CAN'T REALLY WRITE AT ALL THE WAY YOU CAN 1566 01:30:46,717 --> 01:30:49,477 WELL AND EASILY AND GOOD. 1567 01:30:49,616 --> 01:30:52,406 I JUST NAIL WORDS TOGETHER LIKE A BLOODY CARPENTER 1568 01:30:52,550 --> 01:30:54,860 AND IT IS SO TOUGH TO DO. 1569 01:30:56,105 --> 01:30:59,005 YOU ARE MY HERO AND ALWAYS WILL BE 1570 01:30:59,143 --> 01:31:02,223 AND I WILL BE GOOD AND TRY TO LIVE UP TO MY HERO. 1571 01:31:03,354 --> 01:31:06,914 THANK YOU VERY MUCH FOR HAVING COME TO KEY WEST 1572 01:31:07,013 --> 01:31:09,123 AND FOR HAVING MARRIED ME. 1573 01:31:10,361 --> 01:31:12,921 NARRATOR: GELLHORN'S VIEW OF HERSELF AND HER TALENT 1574 01:31:13,019 --> 01:31:15,569 WAS EVERY BIT AS EXALTED AS HER HUSBAND'S VIEW 1575 01:31:15,746 --> 01:31:17,636 OF HIMSELF AND HIS. 1576 01:31:17,782 --> 01:31:20,752 "WE TWO ARE GREAT PEOPLE," SHE ONCE TOLD HIM. 1577 01:31:20,854 --> 01:31:23,514 "WE CAN SHAKE THE WORLD." 1578 01:31:23,650 --> 01:31:25,790 BUT THE COUPLE FOUND IT HARD TO KEEP 1579 01:31:25,928 --> 01:31:28,588 THEIR VOLATILITY SMOTHERED FOR LONG. 1580 01:31:28,690 --> 01:31:31,970 SHE BEGAN TO TRAVEL MORE AND MORE ON ASSIGNMENT 1581 01:31:32,107 --> 01:31:35,347 AND HE BEGAN TO RESENT IT. 1582 01:31:35,490 --> 01:31:39,840 BEEGEL: MARTHA WAS A WOMAN WHO WOULD NOT BACK DOWN. 1583 01:31:39,977 --> 01:31:41,147 MARTHA WAS A WOMAN WHO COULD 1584 01:31:41,288 --> 01:31:44,118 GIVE AS GOOD AS SHE GOT VERBALLY. 1585 01:31:44,291 --> 01:31:47,611 MARTHA WAS A WOMAN WHO HAD HER OWN LIFE THAT SHE WANTED TO LIVE 1586 01:31:47,778 --> 01:31:49,498 AND CAREER SHE WANTED TO PURSUE 1587 01:31:49,642 --> 01:31:54,202 AND NOBODY WAS TAKING THAT AWAY FROM HER. 1588 01:31:54,336 --> 01:31:55,986 KALE: THEY WERE GREAT IN THE SPANISH CIVIL WAR 1589 01:31:56,131 --> 01:32:00,651 WHERE THERE'S BULLETS AND, AND SHELLS FLYING EVERY WHICH WAY. 1590 01:32:00,756 --> 01:32:05,136 BUT PUT 'EM TOGETHER IN A HOUSE AND IT WAS JUST A DISASTER. 1591 01:32:05,243 --> 01:32:07,453 [DAVID CIERI'S "DUST RISING" PLAYING] 1592 01:32:08,661 --> 01:32:10,151 NARRATOR: AFTER GELLHORN RETURNED TO CUBA 1593 01:32:10,283 --> 01:32:12,323 FROM A LENGTHY REPORTING TRIP, 1594 01:32:12,492 --> 01:32:14,912 SHE WAS CONVINCED THAT HEMINGWAY'S ADVENTURING 1595 01:32:15,046 --> 01:32:17,666 ABOARD THE "PILAR" WAS POINTLESS, 1596 01:32:17,808 --> 01:32:21,158 JUST AN EXCUSE TO FISH AND DRINK WITH HIS FRIENDS 1597 01:32:21,259 --> 01:32:23,809 WHILE THE REST OF THE WORLD WAS AT WAR, 1598 01:32:23,917 --> 01:32:27,157 AND SHE DID NOT HESITATE TO SAY SO. 1599 01:32:27,265 --> 01:32:29,575 HE WAS, IN FACT, NOT WRITING AT ALL 1600 01:32:29,716 --> 01:32:32,336 AND WAS DRINKING MORE AND MORE HEAVILY, 1601 01:32:32,512 --> 01:32:35,902 BEGINNING WITH A SCOTCH-AND-SODA AT 10 IN THE MORNING 1602 01:32:36,033 --> 01:32:38,383 AND KEEPING AT IT ALL DAY. 1603 01:32:40,209 --> 01:32:41,939 HE WAS ANGERED BY HER CRITICISM 1604 01:32:42,073 --> 01:32:46,043 AND NOW SOMETIMES DISMISSIVE OF HER WRITING. 1605 01:32:46,181 --> 01:32:48,491 "I'LL SHOW YOU, YOU CONCEITED BITCH," 1606 01:32:48,597 --> 01:32:51,667 ONE OF HIS SONS REMEMBERED HEARING HIM SHOUT. 1607 01:32:51,773 --> 01:32:53,953 "THEY'LL BE READING MY STUFF LONG AFTER 1608 01:32:54,085 --> 01:32:56,665 THE WORMS HAVE FINISHED WITH YOU." 1609 01:32:58,849 --> 01:33:00,919 BEEGEL: OF ALL OF HIS WIVES, HE HAD THE LEAST POWER 1610 01:33:01,058 --> 01:33:02,918 AND THE LEAST CONTROL OVER MARTHA, 1611 01:33:03,060 --> 01:33:03,990 SO, THAT WOULD, I THINK, 1612 01:33:04,095 --> 01:33:05,715 TEND TO SEND THINGS 1613 01:33:05,856 --> 01:33:08,096 OVER THE TOP. 1614 01:33:08,237 --> 01:33:17,137 VERBAL ABUSE STARTS WITH MARTHA AND HORRIBLE SLANGING MATCHES. 1615 01:33:17,281 --> 01:33:19,011 NARRATOR: THEY HAD BEEN TOGETHER OFF AND ON 1616 01:33:19,179 --> 01:33:20,869 FOR 7 YEARS, 1617 01:33:20,974 --> 01:33:24,224 NEARLY 3 OF THEM AS HUSBAND AND WIFE. 1618 01:33:24,322 --> 01:33:26,602 WHEN APART, THEIR LETTERS WERE STILL FULL OF 1619 01:33:26,739 --> 01:33:30,229 FOND NICKNAMES AND DECLARATIONS OF LOVE. 1620 01:33:30,363 --> 01:33:31,743 BUT WHEN THEY WERE TOGETHER, 1621 01:33:31,882 --> 01:33:34,682 THINGS WENT FROM BAD TO WORSE. 1622 01:33:36,507 --> 01:33:39,407 WHEN GELLHORN INSISTED ON DRIVING HOME FROM HAVANA 1623 01:33:39,510 --> 01:33:42,720 AT THE END OF ONE ESPECIALLY DRUNKEN EVENING, 1624 01:33:42,824 --> 01:33:44,554 HEMINGWAY SLAPPED HER. 1625 01:33:44,653 --> 01:33:47,663 SHE DELIBERATELY DROVE HIS CAR INTO A DITCH 1626 01:33:47,794 --> 01:33:52,564 AND LEFT HIM THERE WHILE SHE WALKED BACK TO THE FINCA ALONE. 1627 01:34:21,759 --> 01:34:23,619 BY THE SUMMER OF 1943, 1628 01:34:23,761 --> 01:34:27,701 THE TIDE OF WAR IN EUROPE HAD BEGUN TO TURN. 1629 01:34:27,834 --> 01:34:29,154 THE GERMANS AND ITALIANS 1630 01:34:29,284 --> 01:34:32,364 HAD BEEN DRIVEN FROM NORTH AFRICA. 1631 01:34:32,494 --> 01:34:36,364 ALLIED TROOPS HAD LANDED IN ITALY. 1632 01:34:36,498 --> 01:34:38,428 THE SOVIET ARMY WAS MOVING WEST, 1633 01:34:38,534 --> 01:34:41,644 DRIVING THE NAZI INVADERS BEFORE THEM. 1634 01:34:43,643 --> 01:34:45,653 GELLHORN LONGED TO BE PART OF IT-- 1635 01:34:45,783 --> 01:34:48,133 AND COULD NOT UNDERSTAND HOW HEMINGWAY 1636 01:34:48,303 --> 01:34:50,623 DID NOT FEEL THE SAME WAY. 1637 01:34:50,719 --> 01:34:52,829 SHE TOLD HIM SHE WANTED TO FEEL AGAIN 1638 01:34:52,963 --> 01:34:56,073 ALL "THE BLINDNESS AND FERVOR AND RECKLESSNESS" 1639 01:34:56,207 --> 01:34:58,347 SHE HAD ONCE FELT WITH HIM. 1640 01:34:59,970 --> 01:35:03,040 IN SEPTEMBER, SHE LEFT FOR ENGLAND WITHOUT HIM, 1641 01:35:03,180 --> 01:35:05,250 TO REPORT FOR "COLLIER'S." 1642 01:35:05,389 --> 01:35:09,499 HEMINGWAY WAS ANGRY, MOROSE, BEREFT. 1643 01:35:09,669 --> 01:35:12,049 [JOHNNY GANDELSMAN'S "FLOR DE LA NOCHE MIRANDO A LAS ESTRELLAS MIX 2" PLAYING] 1644 01:35:12,189 --> 01:35:14,049 WOMAN AS GELLHORN: THE LETTER WHERE YOU SAY THAT THESE ARE 1645 01:35:14,191 --> 01:35:16,681 THE WORST TWO WEEKS OF YOUR LIFE 1646 01:35:16,780 --> 01:35:22,270 AND THAT YOU FEEL YOU ARE GOING TO DIE OF SADNESS IS TOO AWFUL. 1647 01:35:22,406 --> 01:35:26,166 YOU MATTER MORE THAN ANYTHING IN THE WORLD TO ME. 1648 01:35:26,272 --> 01:35:28,272 I CAN'T HAVE YOU DYING OF SADNESS. 1649 01:35:28,412 --> 01:35:30,832 I JUST CAN'T BE PARTY TO THAT. 1650 01:35:30,932 --> 01:35:34,182 IF YOU SEE THAT YOU TRULY CANNOT BEAR IT, 1651 01:35:34,314 --> 01:35:36,494 I'LL COME HOME. 1652 01:35:38,836 --> 01:35:40,906 NARRATOR: BUT SHE DIDN'T COME HOME. 1653 01:35:41,045 --> 01:35:43,385 WHEN "COLLIER'S" PUBLISHED MARTHA'S DISPATCHES 1654 01:35:43,530 --> 01:35:45,290 FROM THE ITALIAN FRONT, 1655 01:35:45,429 --> 01:35:47,599 HEMINGWAY PUBLICLY PRAISED THEM. 1656 01:35:47,742 --> 01:35:50,402 "YOU FEEL IT AS THOUGH IT WERE YOU," HE SAID, 1657 01:35:50,537 --> 01:35:52,437 "AND YOU WERE THERE." 1658 01:35:53,678 --> 01:35:55,918 BUT SHE REMEMBERED RECEIVING AN ANGRY CABLE 1659 01:35:56,060 --> 01:35:57,790 FROM HER HUSBAND IN CUBA: 1660 01:35:57,924 --> 01:36:02,204 "ARE YOU A WAR CORRESPONDENT OR WIFE IN MY BED?" 1661 01:36:03,447 --> 01:36:06,727 MARTHA HOPED SHE COULD SOMEHOW STILL BE BOTH. 1662 01:36:06,864 --> 01:36:09,114 "IT IS QUITE A JOB BEING A WOMAN, ISN'T IT?" 1663 01:36:09,246 --> 01:36:11,316 SHE WROTE TO MRS. ROOSEVELT. 1664 01:36:11,455 --> 01:36:13,865 "YOU CANNOT DO YOUR WORK AND SIMPLY GET ON WITH IT 1665 01:36:13,975 --> 01:36:15,315 "BECAUSE THAT IS SELFISH. 1666 01:36:15,459 --> 01:36:18,189 YOU HAVE TO BE TWO THINGS AT ONCE." 1667 01:36:20,050 --> 01:36:23,780 AGAIN AND AGAIN, HEMINGWAY BEGGED HER TO RETURN TO CUBA. 1668 01:36:23,916 --> 01:36:29,646 AGAIN AND AGAIN, SHE URGED HIM TO JOIN HER IN LONDON INSTEAD. 1669 01:36:29,784 --> 01:36:34,374 HE REFUSED TO DO IT. FINALLY, SHE GAVE UP TRYING. 1670 01:36:36,411 --> 01:36:38,311 WOMAN AS GELLHORN: I LOVE YOU DEARLY. 1671 01:36:38,447 --> 01:36:41,277 I WON'T URGE YOU ANY MORE TO COME, 1672 01:36:41,416 --> 01:36:43,416 THOUGH I DO THINK YOU WILL REGRET IT 1673 01:36:43,590 --> 01:36:46,080 AND I THINK IT WOULD BE A GREAT GENERAL LOSS 1674 01:36:46,179 --> 01:36:47,559 FOR FUTURE TIME, FOR ALL PEOPLE 1675 01:36:47,663 --> 01:36:50,673 WHO NEED AND LOVE TO READ. 1676 01:36:50,805 --> 01:36:54,145 I KNOW IT IS HELL FOR YOU THERE ALONE 1677 01:36:54,291 --> 01:36:56,601 BUT I HAVE TO ASK YOU TO BE PATIENT. 1678 01:36:56,776 --> 01:37:00,536 YOU HAVE A LIFE THERE BECAUSE YOU HAVE USEFUL WORK; 1679 01:37:00,676 --> 01:37:04,646 IT IS WHAT YOU BELIEVE IN AND FEEL RIGHT ABOUT DOING. 1680 01:37:06,268 --> 01:37:08,748 BUT I BELIEVE IN WHAT I AM DOING, TOO. 1681 01:37:08,857 --> 01:37:11,337 I HAVE TO LIVE MY WAY AS WELL AS YOURS, 1682 01:37:11,480 --> 01:37:14,930 OR THERE WOULDN'T BE ANY ME TO LOVE YOU WITH. 1683 01:37:15,105 --> 01:37:18,515 YOU WOULDN'T REALLY WANT ME IF I BUILT A FINE BIG STONE WALL 1684 01:37:18,660 --> 01:37:21,460 AROUND THE FINCA AND SAT INSIDE IT. 1685 01:37:23,803 --> 01:37:26,943 NARRATOR: THAT WAS EXACTLY WHAT HE DID WANT HER TO DO. 1686 01:37:27,117 --> 01:37:30,877 DEPRESSION GRIPPED HIM-- HE CALLED IT "BLACK ASS." 1687 01:37:31,017 --> 01:37:33,467 FEELING ABANDONED, WITH NO WRITING PROJECT 1688 01:37:33,606 --> 01:37:35,636 IN WHICH TO LOSE HIMSELF, 1689 01:37:35,815 --> 01:37:37,955 THE DREAD OF SLEEPING ALONE THAT HAD PLAGUED HIM 1690 01:37:38,128 --> 01:37:42,578 SINCE HIS RETURN FROM THE GREAT WAR DEEPENED. 1691 01:37:42,718 --> 01:37:45,238 HE NOW HAD TO DRINK HIMSELF TO SLEEP-- 1692 01:37:45,376 --> 01:37:48,446 AND WAS CONSUMED WITH SELF-PITY. 1693 01:37:49,864 --> 01:37:52,634 MAN AS HEMINGWAY: I AM SICK-LONELY WITH MARTY AWAY. 1694 01:37:53,798 --> 01:37:56,488 LIKE SOMEBODY WITH THEIR HEART CUT OUT. 1695 01:37:56,594 --> 01:37:59,154 LOVED MARTY SO MUCH AND TO THE EXCLUSION OF 1696 01:37:59,321 --> 01:38:02,221 EVERYTHING AND ALL ELSE SO THAT 1697 01:38:02,359 --> 01:38:05,709 EVERYBODY WHO USED TO LOVE ME QUIT. 1698 01:38:05,845 --> 01:38:10,675 SO, NOW I HAVE NO MARTY AND NOBODY ELSE. 1699 01:38:12,093 --> 01:38:15,583 NARRATOR: IN EARLY 1944, MARTHA RETURNED TO CUBA, 1700 01:38:15,717 --> 01:38:18,377 HOPING SOMEHOW TO REASSURE HER HUSBAND 1701 01:38:18,513 --> 01:38:20,933 AND REBUILD THEIR MARRIAGE. 1702 01:38:21,067 --> 01:38:22,657 IT DIDN'T WORK. 1703 01:38:24,105 --> 01:38:27,585 WOMAN AS GELLHORN: HE WOKE ME WHEN I WAS TRYING TO SLEEP 1704 01:38:27,729 --> 01:38:30,869 TO BULLY, SNARL, MOCK. 1705 01:38:31,043 --> 01:38:35,253 MY CRIME REALLY WAS TO HAVE BEEN AT WAR WHEN HE HAD NOT, 1706 01:38:35,392 --> 01:38:37,742 BUT THAT WAS NOT HOW HE PUT IT. 1707 01:38:37,877 --> 01:38:42,677 I WAS SUPPOSEDLY INSANE, I HAD NO RESPONSIBILITY TO ANYONE, 1708 01:38:42,847 --> 01:38:46,267 I WAS SELFISH BEYOND BELIEF. 1709 01:38:48,025 --> 01:38:50,365 NARRATOR: SHE ASSAILED HIM AGAIN FOR HIS DRINKING, 1710 01:38:50,545 --> 01:38:52,715 RIDICULED HIS SUBMARINE HUNTING, 1711 01:38:52,892 --> 01:38:57,592 ACCUSED HIM OF COWARDICE IN STAYING AWAY FROM THE REAL WAR. 1712 01:38:58,691 --> 01:39:00,381 THE LONG-PLANNED ALLIED INVASION 1713 01:39:00,555 --> 01:39:03,385 OF NAZI-OCCUPIED FRANCE WAS COMING. 1714 01:39:03,558 --> 01:39:05,768 HE OWED IT TO HIMSELF, SHE INSISTED-- 1715 01:39:05,905 --> 01:39:10,565 HE OWED IT TO HISTORY--TO BE IN AT THE DEATH OF FASCISM. 1716 01:39:11,773 --> 01:39:13,573 HISTORY DIDN'T CONCERN HIM, HE SAID. 1717 01:39:13,740 --> 01:39:17,120 HE'D BEEN WOUNDED IN ONE WAR AND UNDER FIRE IN TWO. 1718 01:39:17,261 --> 01:39:20,581 HIS LUCK WAS LIKELY TO RUN OUT IN A THIRD. 1719 01:39:20,747 --> 01:39:24,367 IF HE WERE TO BE KILLED, SHE WOULD BEAR THE BLAME. 1720 01:39:25,407 --> 01:39:27,057 FINALLY, GELLHORN TOLD HIM 1721 01:39:27,237 --> 01:39:28,957 SHE "WAS GOING BACK TO LONDON 1722 01:39:29,101 --> 01:39:31,721 WHETHER HE CAME OR NOT." 1723 01:39:33,036 --> 01:39:37,446 THEN, SUDDENLY, HE CHANGED HIS MIND AND AGREED TO GO. 1724 01:39:37,592 --> 01:39:41,842 HE TOLD HER, "JUST FEEL LIKE OLD HORSE." 1725 01:39:43,011 --> 01:39:46,671 MAN AS HEMINGWAY: GOOD, SOUND, BUT OLD, 1726 01:39:46,808 --> 01:39:49,158 BEING SADDLED AGAIN TO RACE OVER THE JUMPS 1727 01:39:49,293 --> 01:39:52,093 BECAUSE OF UNSCRUPULOUS OWNER. 1728 01:39:52,262 --> 01:39:54,472 WILL MAKE SAME RACE AS ALWAYS, 1729 01:39:54,609 --> 01:39:57,089 BEST THAT CAN MAKE, BUT AM NEITHER 1730 01:39:57,267 --> 01:40:00,997 HAPPY, EXCITED, NOR INTERESTED. 1731 01:40:01,133 --> 01:40:03,383 [DAVID CIERI'S "I USED TO LOVE YOU VARIATION 2" PLAYING] 1732 01:40:03,514 --> 01:40:05,624 NARRATOR: HE SIGNED ON WITH "COLLIER'S"-- 1733 01:40:05,792 --> 01:40:07,792 THUS ENSURING THAT GELLHORN WOULD BE 1734 01:40:07,898 --> 01:40:12,798 OVERSHADOWED AT THE MAGAZINE FOR WHICH SHE WROTE REGULARLY. 1735 01:40:12,972 --> 01:40:16,182 "HE DID IT TO FIX ME," SHE REMEMBERED MANY YEARS LATER. 1736 01:40:16,320 --> 01:40:20,500 "NOTHING COULD BEAT IT FOR SHEER BITCHERY." 1737 01:40:20,635 --> 01:40:21,945 STILL, MARTHA PERSUADED A FRIEND 1738 01:40:22,119 --> 01:40:24,539 AT THE BRITISH EMBASSY IN WASHINGTON 1739 01:40:24,673 --> 01:40:26,953 TO PROVIDE HIM WITH A HARD-TO-OBTAIN SEAT 1740 01:40:27,055 --> 01:40:30,395 ON AN RAF PLANE HEADED FOR LONDON. 1741 01:40:30,541 --> 01:40:33,131 SHE ASSUMED SHE'D BE BOARDING THE PLANE, TOO. 1742 01:40:33,303 --> 01:40:37,133 BUT HEMINGWAY, STILL BITTER OVER THE PRESSURE SHE'D PUT ON HIM, 1743 01:40:37,307 --> 01:40:40,307 TOLD HER THE MILITARY HAD BARRED WOMEN-- 1744 01:40:40,482 --> 01:40:42,522 EVEN THOUGH TWO BRITISH ACTRESSES 1745 01:40:42,657 --> 01:40:46,007 WOULD BE AMONG HIS FELLOW PASSENGERS. 1746 01:40:46,109 --> 01:40:49,729 GELLHORN WAS FORCED TO CROSS THE NORTH ATLANTIC ALONE, 1747 01:40:49,871 --> 01:40:52,771 THE SOLE CIVILIAN ABOARD A NORWEGIAN FREIGHTER 1748 01:40:52,908 --> 01:40:55,908 CARRYING EXPLOSIVES AND LANDING CRAFT, 1749 01:40:56,050 --> 01:41:01,400 PART OF THE PREPARATIONS FOR D-DAY, NOW JUST WEEKS AWAY. 1750 01:41:01,538 --> 01:41:04,508 HER MARRIAGE WAS ESSENTIALLY OVER. 1751 01:41:04,644 --> 01:41:06,034 "ERNEST IS A GOOD MAN," 1752 01:41:06,163 --> 01:41:09,863 SHE WROTE AN OLD FRIEND WHILE ABOARD SHIP. 1753 01:41:10,029 --> 01:41:12,409 WOMAN AS GELLHORN: HE IS, HOWEVER, BAD FOR ME... 1754 01:41:12,549 --> 01:41:15,519 OR MAYBE WRONG FOR ME IS THE WORD; 1755 01:41:15,621 --> 01:41:18,071 AND I AM WRONG FOR HIM. 1756 01:41:20,729 --> 01:41:23,559 AS FAR AS I AM CONCERNED, IT IS ALL OVER. 1757 01:41:23,698 --> 01:41:26,698 IT'LL NEVER WORK BETWEEN US AGAIN. 1758 01:41:26,873 --> 01:41:32,123 I AM WONDERING NOW IF IT EVER REALLY WORKED; 1759 01:41:32,258 --> 01:41:37,128 I AM WONDERING WHAT ALL THESE 7 YEARS WERE ABOUT EXACTLY. 1760 01:41:38,264 --> 01:41:47,314 I FEEL TERRIBLY STRANGE, LIKE A SHADOW, AND FULL OF DREAD. 1761 01:41:47,446 --> 01:41:52,446 I DREAD THE TIME AHEAD, THE AMPUTATING TIME. 1762 01:41:53,555 --> 01:41:56,895 IT IS, NOTE, MY FAULT: 1763 01:41:57,041 --> 01:41:58,941 I AM THE ONE WHO HAS CHANGED 1764 01:41:59,078 --> 01:42:03,698 AND I AM ASHAMED AND GUILTY, TOO, 1765 01:42:03,876 --> 01:42:07,806 BECAUSE I AM BREAKING HIS HEART. 1766 01:42:07,949 --> 01:42:09,739 WE QUARRELED TOO MUCH, I SUPPOSE. 1767 01:42:09,847 --> 01:42:16,747 IT'S ALL SICKENING AND I'M SAD TO DEATH AND AFRAID. 1768 01:42:16,923 --> 01:42:23,003 I ONLY WANT TO BE ALONE. I WANT TO BE MYSELF 1769 01:42:23,137 --> 01:42:26,857 AND ALONE AND FREE TO BREATHE, LIVE, 1770 01:42:27,002 --> 01:42:31,872 LOOK UPON THE WORLD AND FIND IT HOWEVER IT IS. 1771 01:42:32,007 --> 01:42:35,797 I WANT MY OWN NAME BACK, MOST VIOLENTLY, 1772 01:42:35,942 --> 01:42:41,502 AS IF GETTING IT BACK WOULD GIVE ME SOME OF MYSELF. 1773 01:42:44,710 --> 01:42:45,750 NARRATOR: HEMINGWAY GOT TO ENGLAND 1774 01:42:45,849 --> 01:42:49,369 11 DAYS BEFORE GELLHORN DID-- 1775 01:42:49,508 --> 01:42:52,098 LONG ENOUGH FOR HIM TO MEET THE WOMAN WHO WOULD BECOME 1776 01:42:52,200 --> 01:42:56,240 THE FOURTH MRS. ERNEST HEMINGWAY. 1777 01:42:56,377 --> 01:42:58,757 [DUKE ELLINGTON & BUBBER MILEY'S "THE NEW EAST ST. LOUIS TOODLE-O" PLAYING]