1 00:00:01,954 --> 00:00:03,587 {\an7}ANNOUNCER: MAJOR FUNDING FOR "HEMINGWAY" 2 00:00:03,621 --> 00:00:06,287 {\an8}WAS PROVIDED BY THE BETTER ANGELS SOCIETY 3 00:00:06,321 --> 00:00:08,054 {\an1}AND BY ITS MEMBERS: 4 00:00:08,087 --> 00:00:10,521 {\an1}THE ELIZABETH RUTH WALLACE LIVING TRUST, 5 00:00:10,554 --> 00:00:12,454 {\an1}JOHN AND LESLIE McQUOWN, 6 00:00:12,487 --> 00:00:14,154 {\an1}JOHN AND CATHERINE DEBS, 7 00:00:14,187 --> 00:00:16,887 {\an1}THE FULLERTON FAMILY CHARITABLE TRUST, 8 00:00:16,921 --> 00:00:19,887 {\an1}KISSICK FAMILY FOUNDATION, GAIL ELDEN, 9 00:00:19,921 --> 00:00:21,487 {\an1}GILCHRIST AND AMY BERG, 10 00:00:21,521 --> 00:00:23,087 {\an1}ROBERT AND BEVERLY GRAPPONE, 11 00:00:23,121 --> 00:00:25,554 {\an1}AND MAUREE JANE AND MARK PERRY. 12 00:00:25,587 --> 00:00:29,954 {\an1}ADDITIONAL FUNDING WAS PROVIDED BY THE ANNENBERG FOUNDATION, 13 00:00:29,987 --> 00:00:32,521 {\an1}THE ARTHUR VINING DAVIS FOUNDATIONS, 14 00:00:32,554 --> 00:00:35,054 THE CORPORATION FOR PUBLIC BROADCASTING, 15 00:00:35,087 --> 00:00:38,321 {\an1}AND BY CONTRIBUTIONS TO YOUR PBS STATION 16 00:00:38,354 --> 00:00:40,387 {\an1}FROM VIEWERS LIKE YOU. 17 00:00:40,421 --> 00:00:42,954 THANK YOU. 18 00:00:48,054 --> 00:00:50,574 [LOUIS ARMSTRONG AND HIS HOT FIVE'S "BASIN STREET BLUES" PLAYING] 19 00:00:52,587 --> 00:00:54,563 {\an1}WOMAN AS DOROTHY PARKER: HE HAS THE MOST PROFOUND BRAVERY 20 00:00:54,587 --> 00:00:57,787 {\an1}THAT IT HAS EVER BEEN MY PRIVILEGE TO SEE. 21 00:00:57,821 --> 00:00:59,387 {\an1}HE HAS HAD ABOUT 8 TIMES 22 00:00:59,421 --> 00:01:02,887 {\an1}THE NORMAL ALLOTMENT OF RESPONSIBILITIES. 23 00:01:02,921 --> 00:01:04,687 IT TAKES COURAGE. 24 00:01:04,721 --> 00:01:08,287 {\an1}HE REFERRED TO THE QUALITY AS "GUTS." 25 00:01:08,321 --> 00:01:10,654 {\an1}HE WEIGHS ABOUT 200 POUNDS, 26 00:01:10,687 --> 00:01:14,254 {\an1}AND HE IS EVEN BETTER THAN THOSE PHOTOGRAPHS. 27 00:01:14,287 --> 00:01:16,654 {\an1}THE EFFECT UPON WOMEN IS SUCH THAT THEY WANT TO 28 00:01:16,687 --> 00:01:21,954 {\an1}GO RIGHT OUT AND GET HIM AND BRING HIM HOME, STUFFED. 29 00:01:21,987 --> 00:01:23,654 DOROTHY PARKER. 30 00:01:36,187 --> 00:01:37,954 {\an1}NARRATOR: BY THE TIME "A FAREWELL TO ARMS" 31 00:01:37,987 --> 00:01:41,454 {\an1}TOPPED THE BEST-SELLER LISTS IN 1929, 32 00:01:41,487 --> 00:01:44,654 {\an1}COLORFUL STORIES HAD ALREADY BEGUN TO CIRCULATE 33 00:01:44,687 --> 00:01:46,521 {\an1}ABOUT ERNEST HEMINGWAY, 34 00:01:46,554 --> 00:01:50,321 MANY OF THEM TOLD BY THE WRITER HIMSELF. 35 00:01:50,354 --> 00:01:51,787 {\an1}HE'D ONCE PLANNED TO BE 36 00:01:51,821 --> 00:01:54,021 {\an1}A PROFESSIONAL BOXER, HE CLAIMED. 37 00:01:54,054 --> 00:01:57,521 {\an1}HE'D FOUGHT IN THE ITALIAN ARMY DURING THE GREAT WAR, 38 00:01:57,554 --> 00:02:00,454 {\an1}BEEN WOUNDED 7 SEPARATE TIMES, 39 00:02:00,487 --> 00:02:03,054 AND BEEN AWARDED A CHEST-FULL OF MEDALS 40 00:02:03,087 --> 00:02:08,087 {\an1}ABOUT WHICH HE SAID HE WAS TOO MODEST TO SPEAK. 41 00:02:08,121 --> 00:02:10,954 AND HE'D NEARLY STARVED TO DEATH IN PARIS 42 00:02:10,987 --> 00:02:13,354 {\an1}WHILE LEARNING TO WRITE. 43 00:02:13,387 --> 00:02:15,954 {\an1}NONE OF THESE STORIES WAS TRUE. 44 00:02:18,087 --> 00:02:21,254 EDNA O'BRIEN: HE MYTHOLOGIZED HIMSELF. 45 00:02:21,287 --> 00:02:24,587 {\an1}WHY DO PEOPLE MYTHOLOGIZE? 46 00:02:24,621 --> 00:02:26,687 {\an7}TO WOO OTHER PEOPLE 47 00:02:26,721 --> 00:02:30,087 {\an8}AND ALSO TO KEEP THEM AT A DISTANCE. 48 00:02:30,121 --> 00:02:35,121 {\an1}TO FEEL INADEQUATE, BUT TO BOAST ABOUT BEING OVER-ADEQUATE. 49 00:02:36,587 --> 00:02:40,054 {\an1}KATAKIS: HEMINGWAY CONSTRUCTED HIS MYTH TO A LARGE DEGREE 50 00:02:40,087 --> 00:02:44,287 {\an1}AND HE MADE THE MISTAKE THAT ALL MYTH-MAKERS DO... 51 00:02:44,321 --> 00:02:47,721 {\an8}HE THOUGHT THAT HE COULD CONTROL IT. 52 00:02:47,754 --> 00:02:52,587 {\an7}AND THERE COMES A TIME THAT YOU CAN'T ANYMORE. 53 00:02:52,621 --> 00:02:55,554 {\an1}IT'S TAKEN ON A LIFE OF ITS OWN. 54 00:02:55,587 --> 00:02:59,554 {\an1}IT BECAME VERY EXHAUSTING TO BE HEMINGWAY. 55 00:02:59,587 --> 00:03:01,587 {\an1}THE HEMINGWAY THAT THE PUBLIC THOUGHT. 56 00:03:01,621 --> 00:03:05,121 {\an1}AND LET'S FACE IT, WHEN HE WAS IN THE PUBLIC, 57 00:03:05,154 --> 00:03:08,454 {\an1}HE WAS ALWAYS IN THE PUBLIC EYE 58 00:03:08,487 --> 00:03:12,421 {\an1}AND THE PEOPLE EXPECTED HEMINGWAY TO BE HEMINGWAY. 59 00:03:12,454 --> 00:03:14,654 {\an1}[JOHNNY GANDELSMAN'S "THE GARDEN OF EDEN MIX 3" PLAYING] 60 00:03:16,521 --> 00:03:20,287 {\an1}NARRATOR: HIS ART AND THE GAUDY MYTHS THAT GREW UP AROUND HIM 61 00:03:20,321 --> 00:03:24,387 {\an1}WERE ALREADY BECOMING CONFUSED IN THE PUBLIC MIND. 62 00:03:24,421 --> 00:03:26,487 {\an1}AT FIRST, HE HIMSELF WAS EMBARRASSED 63 00:03:26,521 --> 00:03:31,654 {\an1}BY SOME OF THE TALL TALES WHEN HE SAW THEM IN PRINT. 64 00:03:31,687 --> 00:03:35,121 {\an1}BUT AS HIS FAME GREW OVER THE COMING YEARS, 65 00:03:35,154 --> 00:03:38,754 {\an1}IT BECAME HARDER AND HARDER TO TELL THE REAL HEMINGWAY 66 00:03:38,787 --> 00:03:40,887 {\an1}FROM THE ONE HE HAD CREATED. 67 00:03:44,854 --> 00:03:50,254 {\an1}WOLFF: THERE'S A CHINESE PROVERB BY THE SAGE ZHUANGZI 68 00:03:50,287 --> 00:03:52,287 {\an1}AND HE HAS IT THIS WAY. HE SAYS, 69 00:03:52,321 --> 00:03:55,421 GOOD FORTUNE IS AS LIGHT AS A FEATHER 70 00:03:55,454 --> 00:03:59,554 {\an1}AND FEW ARE STRONG ENOUGH TO CARRY IT. 71 00:03:59,587 --> 00:04:03,321 {\an7}WHEN YOU THINK OF THE WEIGHT 72 00:04:03,354 --> 00:04:07,021 {\an7}THAT HIS FAME MUST HAVE LAID ON HIM, 73 00:04:07,054 --> 00:04:09,654 {\an1}EVEN WHEN HE WAS YOUNG, 74 00:04:09,687 --> 00:04:12,054 AND THE ANXIETY THAT WOULD PRODUCE OF 75 00:04:12,087 --> 00:04:13,987 {\an1}HOW CAN I LIVE UP TO THIS? 76 00:04:14,021 --> 00:04:16,021 {\an1}HOW CAN THE NEXT BOOK BE BETTER? 77 00:04:16,054 --> 00:04:19,354 WHAT IS IN ME TO MAKE THIS REAL? 78 00:04:22,187 --> 00:04:25,787 {\an1}IT'S VERY HARD, I THINK, TO BE A PUBLIC PERSON LIKE THAT. 79 00:04:25,821 --> 00:04:28,487 AND SO, I THINK EVERY PUBLIC PERSON 80 00:04:28,521 --> 00:04:34,021 {\an1}CREATES SOME KIND OF AVATAR, IF YOU WILL, OF THEMSELVES, 81 00:04:34,054 --> 00:04:38,221 {\an1}SOME HOLOGRAPH OF THEMSELVES TO PRESENT PUBLICLY 82 00:04:38,254 --> 00:04:41,621 {\an1}TO SAVE WHATEVER IS PRIVATE IN THEM. 83 00:04:42,854 --> 00:04:46,387 {\an1}THE PROBLEM IS THAT EVENTUALLY YOUR AVATAR 84 00:04:46,421 --> 00:04:48,287 WILL CONSUME YOU. 85 00:04:59,254 --> 00:05:01,354 [FATS WALLER'S "AIN'T MISBEHAVIN'" PLAYING] 86 00:05:07,954 --> 00:05:09,430 MAN AS HEMINGWAY: WE HAVE A FINE HOUSE HERE 87 00:05:09,454 --> 00:05:12,154 {\an1}AND THE KIDS ARE ALL WELL. 88 00:05:12,187 --> 00:05:16,654 {\an1}ALSO 4 RACCOONS, A POSSUM, 18 GOLDFISH, 3 PEACOCKS, 89 00:05:16,687 --> 00:05:20,287 {\an1}AND A YARD WITH FIG TREE AND A LIME TREE. 90 00:05:20,321 --> 00:05:23,954 VERY FINE THE WAY PAULINE HAS FIXED IT. 91 00:05:23,987 --> 00:05:27,721 {\an1}WE HAVE BEEN, AND ARE, DAMNED HAPPY. 92 00:05:27,754 --> 00:05:30,354 {\an1}I COULD STAY HERE DAMNED NEAR ALL THE TIME 93 00:05:30,387 --> 00:05:33,387 {\an1}AND HAVE A FINE TIME WATCHING THE THINGS GROW 94 00:05:33,421 --> 00:05:35,421 AND BE HAPPIER THAN I UNDERSTAND. 95 00:05:35,454 --> 00:05:40,087 {\an7}MAN: ♪ NO ONE TO TALK WITH, ALL MY MYSELF ♪ 96 00:05:40,121 --> 00:05:44,954 {\an7}♪ NO ONE TO WALK WITH BUT I'M HAPPY ON THE SHELF ♪ 97 00:05:44,987 --> 00:05:46,321 {\an7}♪ AIN'T MISBEHAVIN'... 98 00:05:46,354 --> 00:05:47,921 NARRATOR: THE BIG ANTEBELLUM HOUSE 99 00:05:47,954 --> 00:05:50,887 {\an1}ON WHITEHEAD STREET IN KEY WEST, FLORIDA 100 00:05:50,921 --> 00:05:54,054 {\an1}WAS A GIFT FROM HIS SECOND WIFE PAULINE PFEIFFER'S 101 00:05:54,087 --> 00:05:58,887 {\an1}WEALTHY UNCLE GUS, WHO BELIEVED DEEPLY IN HEMINGWAY'S WRITING 102 00:05:58,921 --> 00:06:01,754 {\an1}AND WHO WOULD PROVIDE FINANCIAL HELP TO MAINTAIN 103 00:06:01,787 --> 00:06:06,421 {\an1}THEIR EXPENSIVE AND EXTRAVAGANT WAY OF LIFE. 104 00:06:06,454 --> 00:06:10,721 {\an1}DAY TO DAY COSTS WERE COVERED BY PAULINE'S TRUST FUND. 105 00:06:12,187 --> 00:06:16,487 {\an1}3 HEMINGWAY CHILDREN WOULD SOON BE SEEN THERE: 106 00:06:16,521 --> 00:06:18,521 {\an1}JACK, KNOWN AS "BUMBY," 107 00:06:18,554 --> 00:06:21,221 {\an1}THE OFFSPRING OF HEMINGWAY'S FIRST MARRIAGE, 108 00:06:21,254 --> 00:06:24,454 {\an1}SPENT MOST OF EACH YEAR WITH HIS MOTHER HADLEY, 109 00:06:24,487 --> 00:06:28,321 {\an1}WHO WOULD HAPPILY REMARRY AND SETTLE NEAR CHICAGO. 110 00:06:28,354 --> 00:06:32,354 {\an1}BUT HE SUMMERED IN FLORIDA WITH HIS FATHER AND PAULINE. 111 00:06:33,654 --> 00:06:36,454 {\an1}PATRICK, ERNEST AND PAULINE'S FIRST-BORN, 112 00:06:36,487 --> 00:06:40,354 {\an1}CALLED "MOUSE," WAS IN PERMANENT RESIDENCE. 113 00:06:40,387 --> 00:06:46,787 {\an1}SO WAS GREGORY, NICKNAMED "GIGI," BORN IN 1931. 114 00:06:46,821 --> 00:06:52,487 {\an1}MAN: ♪ AIN'T MISBEHAVIN', SAVIN' ALL MY LOVE FOR YOU ♪ 115 00:06:52,521 --> 00:06:55,854 {\an1}NARRATOR: MOTHERHOOD WAS ALWAYS LESS IMPORTANT TO PAULINE 116 00:06:55,887 --> 00:06:58,821 {\an1}THAN WHAT SHE SAID WAS HER FIRST DUTY... 117 00:06:58,854 --> 00:07:02,787 TO REMAIN ALWAYS "A LOVELY, UNHARRIED WIFE." 118 00:07:04,387 --> 00:07:07,487 {\an1}ERNEST LONGED FOR HER WHEN EVEN BRIEFLY AWAY 119 00:07:07,521 --> 00:07:09,854 {\an1}AND DELIGHTED IN HER WILLINGNESS TO PLEASE HIM 120 00:07:09,887 --> 00:07:11,887 {\an1}BY DYEING HER HAIR... 121 00:07:11,921 --> 00:07:16,687 {\an1}LIKE HAVING "A NEW WIFE EVERY DAY," HE TOLD A FRIEND. 122 00:07:16,721 --> 00:07:18,097 {\an1}DEARBORN: HER NUMBER-ONE GOAL IN LIFE 123 00:07:18,121 --> 00:07:20,687 {\an1}IS MAKING HEMINGWAY HAPPY. 124 00:07:20,721 --> 00:07:22,254 {\an7}SHE, SHE WANTS HIM TO KEEP WRITING. 125 00:07:22,287 --> 00:07:26,187 {\an7}SHE WAS THE REAL PROTECTOR OF HIS TALENT. 126 00:07:26,221 --> 00:07:30,821 {\an1}AND SHE WANTED TO FACILITATE THAT IN ANY WAY SHE COULD. 127 00:07:30,854 --> 00:07:34,254 {\an1}AND SHE SUBMERGED HERSELF, HER IDENTITY. 128 00:07:34,287 --> 00:07:37,654 {\an1}SHE LEFT HER INFANT CHILDREN, ONE IS 3 MONTHS OLD 129 00:07:37,687 --> 00:07:40,554 {\an1}AT ONE POINT, TO GO HUNTING WITH HEMINGWAY. 130 00:07:40,587 --> 00:07:43,521 {\an1}AND SHE'D SAY, "YOU'RE MORE IMPORTANT THAN THEY ARE." 131 00:07:43,554 --> 00:07:45,521 {\an1}AND HE WAS HER PRIORITY. 132 00:07:47,387 --> 00:07:49,130 {\an1}NARRATOR: THE HOUSE ON WHITEHEAD STREET WOULD BE 133 00:07:49,154 --> 00:07:52,887 {\an1}HEMINGWAY'S COMFORTABLE HOME FOR THE NEXT 8 YEARS. 134 00:07:52,921 --> 00:07:56,387 {\an1}WHEN HE WAS NOT WRITING, HE FISHED THE NEARBY GULF STREAM 135 00:07:56,421 --> 00:08:01,321 {\an1}FOR TUNA AND SAILFISH, MAKO SHARK AND BLUE MARLIN, 136 00:08:01,354 --> 00:08:04,654 {\an1}REFEREED BOXING MATCHES ON FRIDAY NIGHTS, 137 00:08:04,687 --> 00:08:07,121 {\an1}AND HUNG OUT IN A FAVORITE KEY WEST SALOON 138 00:08:07,154 --> 00:08:09,621 {\an1}CALLED SLOPPY JOE'S. 139 00:08:12,454 --> 00:08:14,421 {\an1}IN KEY WEST, HE ALSO MAINTAINED 140 00:08:14,454 --> 00:08:19,321 {\an1}THE STRICT WRITER'S DISCIPLINE HE HAD FOLLOWED SINCE PARIS. 141 00:08:19,354 --> 00:08:22,530 {\an1}[JOHANN SEBASTIAN BACH'S "CELLO SUITE NO. 1 IN G MAJOR, BWV 1007: COURANTE" PLAYING] 142 00:08:22,554 --> 00:08:23,763 MAN AS HEMINGWAY: I WRITE EVERY MORNING AS SOON 143 00:08:23,787 --> 00:08:27,121 {\an1}AFTER FIRST LIGHT AS POSSIBLE. 144 00:08:27,154 --> 00:08:29,221 {\an1}THERE IS NO ONE TO DISTURB YOU 145 00:08:29,254 --> 00:08:33,087 {\an1}AND IT IS COOL OR COLD AND YOU COME TO YOUR WORK 146 00:08:33,121 --> 00:08:35,021 {\an1}AND WARM AS YOU WRITE. 147 00:08:36,987 --> 00:08:39,487 {\an1}PATRICK: HE DIDN'T WORK ALL DAY. 148 00:08:39,521 --> 00:08:41,421 {\an7}I THINK THAT'S THE MOST ILLUMINATING THING 149 00:08:41,454 --> 00:08:44,021 {\an8}ABOUT DESCRIBING HIS WRITING HABITS. 150 00:08:45,521 --> 00:08:48,421 {\an7}AFTER LUNCH, HE ENJOYED HIMSELF. 151 00:08:48,454 --> 00:08:51,254 {\an1}AS A CHILD GROWING UP, YOU JUST TAKE 152 00:08:51,287 --> 00:08:55,987 {\an1}THE CIRCUMSTANCES OF YOUR LIFE AS BEING NORMAL. 153 00:08:56,021 --> 00:09:00,054 {\an1}AND SO... HE WAS A STRANGE PERSON IN THE SENSE THAT 154 00:09:00,087 --> 00:09:02,721 {\an1}HE WAS INACCESSIBLE IN THE FIRST HALF OF THE DAY 155 00:09:02,754 --> 00:09:06,187 {\an1}AND OVER-ACCESSIBLE IN THE SECOND. 156 00:09:06,221 --> 00:09:08,521 {\an1}BUT I REALLY ENJOYED THE FACT 157 00:09:08,554 --> 00:09:11,954 {\an1}THAT HE WAS ALWAYS GAME FOR SOMETHING IN THE AFTERNOON 158 00:09:11,987 --> 00:09:14,854 {\an1}AND THAT WE WERE INCLUDED. 159 00:09:14,887 --> 00:09:20,154 {\an1}UNLIKE SOME ARTISTS THAT I'VE HEARD ABOUT, 160 00:09:20,187 --> 00:09:22,321 {\an1}MY DAD WAS A VERY GOOD FATHER. 161 00:09:24,621 --> 00:09:28,887 {\an1}MAN AS RALPH ELLISON: I PRACTICED WRITING AND STUDIED JOYCE, DOSTOYEVSKY, 162 00:09:28,921 --> 00:09:31,321 {\an1}STEIN, AND HEMINGWAY. 163 00:09:31,354 --> 00:09:34,354 {\an1}ESPECIALLY HEMINGWAY. I READ HIM 164 00:09:34,387 --> 00:09:38,354 {\an1}TO LEARN HIS SENTENCE STRUCTURE AND HOW TO ORGANIZE A STORY. 165 00:09:38,387 --> 00:09:40,821 {\an1}I GUESS MANY YOUNG WRITERS WERE DOING THIS, 166 00:09:40,854 --> 00:09:42,754 BUT I ALSO USED HIS DESCRIPTION OF HUNTING 167 00:09:42,787 --> 00:09:46,487 {\an1}WHEN I WENT INTO THE FIELDS THE NEXT DAY. 168 00:09:46,521 --> 00:09:48,021 {\an1}I HAD BEEN HUNTING SINCE I WAS 11, 169 00:09:48,054 --> 00:09:50,054 BUT NO ONE HAD BROKEN DOWN THE PROCESS 170 00:09:50,087 --> 00:09:52,987 {\an1}OF WING-SHOOTING FOR ME, AND IT WAS 171 00:09:53,021 --> 00:09:56,887 {\an1}FROM READING HEMINGWAY THAT I LEARNED TO LEAD A BIRD. 172 00:09:59,354 --> 00:10:02,487 {\an1}WHEN HE DESCRIBES SOMETHING IN PRINT, BELIEVE HIM. 173 00:10:02,521 --> 00:10:04,854 HE'S BEEN THERE. 174 00:10:04,887 --> 00:10:06,521 RALPH ELLISON. 175 00:10:09,054 --> 00:10:10,721 {\an1}NARRATOR: ERNEST HEMINGWAY HAD TRANSFORMED 176 00:10:10,754 --> 00:10:12,654 {\an1}THE AMERICAN SHORT STORY 177 00:10:12,687 --> 00:10:15,154 {\an1}AND REMADE THE AMERICAN NOVEL, 178 00:10:15,187 --> 00:10:17,154 {\an1}BUT HE WAS NOT SATISFIED. 179 00:10:17,187 --> 00:10:21,954 {\an1}NOW HE WANTED TO DEMONSTRATE HIS MASTERY OF NONFICTION AS WELL. 180 00:10:23,554 --> 00:10:25,687 {\an1}RUNNING ALWAYS THROUGH HEMINGWAY'S WRITING... 181 00:10:25,721 --> 00:10:29,221 AND HIS LIFE... WAS A SINGLE DARK THREAD: 182 00:10:29,254 --> 00:10:32,254 {\an1}HIS FASCINATION WITH DEATH. 183 00:10:32,287 --> 00:10:36,021 {\an1}"ALL STORIES IF CONTINUED FAR ENOUGH," HE WROTE, 184 00:10:36,054 --> 00:10:38,221 "END IN DEATH." 185 00:10:38,254 --> 00:10:40,421 {\an1}VERGHESE: HOW CAN YOU NOT BE OBSESSED ABOUT DEATH? 186 00:10:40,454 --> 00:10:43,821 {\an1}AND I THINK IT DROVE EVERYTHING THAT FOLLOWED IN HIS WRITING. 187 00:10:43,854 --> 00:10:46,554 {\an7}YOU KNOW, IT WAS ALL FUELED BY THE SENSE THAT 188 00:10:46,587 --> 00:10:48,054 {\an7}WE'RE GOING TO DIE AND WHY NOT? 189 00:10:48,087 --> 00:10:49,954 {\an7}ISN'T THAT THE REASON FOR US TO 190 00:10:49,987 --> 00:10:52,321 {\an7}BRING OUR BEST TO THIS MOMENT? 191 00:10:52,354 --> 00:10:53,497 {\an1}NARRATOR: "A GOOD WRITER SHOULD KNOW 192 00:10:53,521 --> 00:10:55,454 {\an1}NEAR TO EVERYTHING AS POSSIBLE," 193 00:10:55,487 --> 00:10:56,987 HEMINGWAY WROTE. 194 00:10:57,021 --> 00:10:58,687 {\an1}"NATURALLY HE WILL NOT," 195 00:10:58,721 --> 00:11:01,921 {\an1}BUT HE SHOULD BE CAPABLE OF LEARNING SO FAST 196 00:11:01,954 --> 00:11:04,854 {\an1}AND REMEMBERING SO MUCH THAT HE SEEMS TO HAVE 197 00:11:04,887 --> 00:11:09,087 {\an1}BEEN BORN WITH KNOWLEDGE NONETHELESS. 198 00:11:09,121 --> 00:11:11,387 {\an1}HE LIKED TO CALL HIMSELF PAPA 199 00:11:11,421 --> 00:11:14,054 {\an1}AND HIS APPARENT EXPERTISE IN EVERYTHING 200 00:11:14,087 --> 00:11:16,754 {\an1}WAS PART OF HIS MAGIC ON THE PRINTED PAGE, 201 00:11:16,787 --> 00:11:18,921 {\an1}THOUGH IN REAL LIFE, SOME OF HIS FRIENDS 202 00:11:18,954 --> 00:11:23,821 {\an1}WEARIED OF WHAT ONE CALLED HIS "TENDENCY TO BE AN ORACLE." 203 00:11:25,221 --> 00:11:28,987 {\an1}HEMINGWAY SAW IT AS HIS DUTY TO PASS ON TO THE WORLD 204 00:11:29,021 --> 00:11:30,721 {\an1}AS MUCH OF WHAT HE'D LEARNED 205 00:11:30,754 --> 00:11:34,221 {\an1}ABOUT THE RIGHT WAY TO DO THINGS AS HE COULD... 206 00:11:34,254 --> 00:11:36,587 {\an1}HOW TO ORDER A GOOD FRENCH MEAL, 207 00:11:36,621 --> 00:11:40,654 {\an1}FIRE A MACHINE GUN, BAIT A HOOK, 208 00:11:40,687 --> 00:11:44,387 {\an1}MAKE LOVE TO A WOMAN... 209 00:11:44,421 --> 00:11:46,554 {\an1}OR APPRECIATE WHAT A MATADOR 210 00:11:46,587 --> 00:11:48,987 {\an1}WAS DOING IN THE BULLRING. 211 00:11:50,154 --> 00:11:52,187 {\an1}[JOHNNY GANDELSMAN'S "EL TORITO MIX 3" PLAYING] 212 00:12:06,854 --> 00:12:08,330 MAN AS HEMINGWAY: THE BULLFIGHT IS NOT A SPORT 213 00:12:08,354 --> 00:12:10,821 {\an1}IN THE ANGLO-SAXON SENSE OF THE WORD. 214 00:12:12,454 --> 00:12:15,421 {\an1}THAT IS, IT IS NOT AN EQUAL CONTEST 215 00:12:15,454 --> 00:12:17,654 OR AN ATTEMPT AT AN EQUAL CONTEST 216 00:12:17,687 --> 00:12:19,554 {\an1}BETWEEN A BULL AND A MAN. 217 00:12:21,954 --> 00:12:27,554 {\an1}RATHER, IT IS A TRAGEDY; THE DEATH OF THE BULL, 218 00:12:27,587 --> 00:12:30,187 {\an1}WHICH IS PLAYED, MORE OR LESS WELL, BY THE BULL 219 00:12:30,221 --> 00:12:33,154 {\an1}AND THE MAN INVOLVED 220 00:12:33,187 --> 00:12:35,887 {\an1}AND IN WHICH THERE IS DANGER FOR THE MAN 221 00:12:35,921 --> 00:12:38,187 BUT CERTAIN DEATH FOR THE ANIMAL. 222 00:12:38,221 --> 00:12:40,254 [CROWD CHEERING] 223 00:12:45,321 --> 00:12:47,354 {\an7}[VARGAS LLOSA SPEAKING SPANISH] 224 00:13:42,221 --> 00:13:44,087 {\an1}NARRATOR: THE BOOK HEMINGWAY WAS WORKING ON 225 00:13:44,121 --> 00:13:48,921 {\an1}WHEN HE AND HIS FAMILY MOVED INTO THEIR NEW HOUSE IN KEY WEST 226 00:13:48,954 --> 00:13:50,921 {\an1}WAS "DEATH IN THE AFTERNOON." 227 00:13:50,954 --> 00:13:54,187 {\an1}IT WAS A NEW KIND OF JOURNALISM, 228 00:13:54,221 --> 00:13:58,554 {\an1}IN WHICH HE WAS THE CENTRAL CHARACTER, "THE AUTHOR," 229 00:13:58,587 --> 00:14:01,887 WHO EXPLAINS TO A FICTIONAL "OLD LADY" 230 00:14:01,921 --> 00:14:04,454 {\an1}EVERYTHING HE HAS LEARNED OVER THE YEARS 231 00:14:04,487 --> 00:14:06,587 ABOUT THE RITUAL OF BULLFIGHTING... 232 00:14:06,621 --> 00:14:10,754 {\an1}AND ABOUT SPAIN, THE COUNTRY HE'D COME TO LOVE 233 00:14:10,787 --> 00:14:12,554 {\an1}AS MUCH AS HE LOVED HIS OWN. 234 00:14:12,587 --> 00:14:14,621 [DAVID CIERI'S "QUE RICO" PLAYING] 235 00:14:17,987 --> 00:14:20,254 {\an1}MANDEL: BACK WHEN HE FIRST BECAME ATTACHED 236 00:14:20,287 --> 00:14:22,387 {\an1}TO SCRIBNER'S PUBLISHING HOUSE, 237 00:14:22,421 --> 00:14:25,721 {\an1}HIS VERY FIRST LETTER TO HIS EDITOR WAS, 238 00:14:25,754 --> 00:14:28,087 {\an7}"I WANT TO WRITE A BIG BOOK 239 00:14:28,121 --> 00:14:30,787 {\an7}ABOUT THE BULLFIGHT, WITH PICTURES." 240 00:14:30,821 --> 00:14:32,030 HE READ AND READ AND READ AND READ 241 00:14:32,054 --> 00:14:33,587 {\an1}AND READ ABOUT BULLFIGHTING, 242 00:14:33,621 --> 00:14:35,421 {\an1}IN ENGLISH AND IN SPANISH. 243 00:14:35,454 --> 00:14:37,454 {\an1}AND HE LEARNED TO READ THE BULL. 244 00:14:37,487 --> 00:14:39,521 {\an1}THE BULL IS A TEXT. YOU HAVE TO READ IT 245 00:14:39,554 --> 00:14:40,987 {\an1}AND SAY, "THESE ARE HIS STRENGTHS." 246 00:14:41,021 --> 00:14:42,854 {\an1}"THESE ARE HIS WEAKNESSES." 247 00:14:42,887 --> 00:14:44,454 {\an1}"THIS IS WHERE I CAN USE IT." 248 00:14:44,487 --> 00:14:47,287 {\an1}"THIS IS WHERE I CAN DOMINATE IT." 249 00:14:47,321 --> 00:14:50,087 {\an1}"THIS IS WHAT I BETTER STAY AWAY FROM." 250 00:14:52,154 --> 00:14:54,621 {\an1}NARRATOR: HEMINGWAY UNDERSTOOD THAT MANY AMERICANS 251 00:14:54,654 --> 00:14:57,087 WOULD FIND BULLFIGHTING ABHORRENT, 252 00:14:57,121 --> 00:14:59,721 {\an1}CONVINCED OF ITS CRUELTY. 253 00:14:59,754 --> 00:15:02,554 {\an1}HE WANTED TO HELP THEM GET BEYOND THAT, HE SAID, 254 00:15:02,587 --> 00:15:06,654 {\an1}SO THAT THEY COULD EXPERIENCE "TRULY WHAT YOU REALLY FELT 255 00:15:06,687 --> 00:15:09,621 {\an1}RATHER THAN WHAT YOU WERE SUPPOSED TO FEEL." 256 00:15:13,421 --> 00:15:15,787 {\an1}MANDEL: THE BULLFIGHTER GETS TO USE ALL OF HIS INTELLIGENCE 257 00:15:15,821 --> 00:15:19,154 {\an1}AND ALL OF HIS CRAFT ON THE BULL. 258 00:15:19,187 --> 00:15:21,387 {\an1}AND, IF IT ALL WORKS VERY, VERY WELL, 259 00:15:21,421 --> 00:15:24,321 IT MAKES A VERY BEAUTIFUL BULLFIGHT 260 00:15:24,354 --> 00:15:28,654 {\an1}WHERE THE MAN IS TRIUMPHANT AND THE BULL GETS KILLED. 261 00:15:28,687 --> 00:15:31,554 {\an1}THAT'S THE MAIN THING THAT HAPPENS IN THE BULLFIGHT, 262 00:15:31,587 --> 00:15:33,654 {\an1}IS THAT THE BULL HAS TO GET KILLED. 263 00:15:35,387 --> 00:15:39,587 {\an1}THAT'S PREDESTINED. SO, YOU HAVE PREDESTINATION 264 00:15:39,621 --> 00:15:42,254 {\an1}AND YOU HAVE A POWERFUL FORCE THAT'S BROUGHT FROM 265 00:15:42,287 --> 00:15:44,654 {\an1}A HIGH PLACE TO A LOW PLACE. 266 00:15:44,687 --> 00:15:46,321 YOU HAVE TRAGEDY. 267 00:15:46,354 --> 00:15:48,887 {\an1}THAT'S THE CLASSICAL DEFINITION OF TRAGEDY. 268 00:15:50,521 --> 00:15:52,554 [MANUEL PONCE'S "FOLIES D'ESPAGNE" PLAYING] 269 00:15:53,954 --> 00:15:56,354 {\an1}MAN AS HEMINGWAY: I KNOW ONLY THAT WHAT IS MORAL 270 00:15:56,387 --> 00:15:59,421 {\an1}IS WHAT YOU FEEL GOOD AFTER 271 00:15:59,454 --> 00:16:04,021 {\an1}AND WHAT IS IMMORAL IS WHAT YOU FEEL BAD AFTER 272 00:16:04,054 --> 00:16:06,887 {\an1}AND JUDGED BY THESE MORAL STANDARDS, 273 00:16:06,921 --> 00:16:09,921 {\an1}WHICH I DO NOT DEFEND, 274 00:16:09,954 --> 00:16:12,587 THE BULLFIGHT IS VERY MORAL TO ME 275 00:16:12,621 --> 00:16:15,754 {\an1}BECAUSE I FEEL VERY FINE WHILE IT IS GOING ON 276 00:16:15,787 --> 00:16:18,454 {\an1}AND HAVE A FEELING OF LIFE AND DEATH 277 00:16:18,487 --> 00:16:22,354 {\an1}AND MORTALITY AND IMMORTALITY, 278 00:16:22,387 --> 00:16:29,421 {\an1}AND AFTER IT IS OVER, I FEEL VERY SAD BUT VERY FINE. 279 00:16:35,354 --> 00:16:37,987 {\an1}NARRATOR: WRITING "DEATH IN THE AFTERNOON" TOOK HEMINGWAY 280 00:16:38,021 --> 00:16:40,154 {\an1}THE BETTER PART OF 5 YEARS... 281 00:16:40,187 --> 00:16:43,454 {\an1}AND HE SAID HE'D WISHED HE'D HAD 10. 282 00:16:43,487 --> 00:16:46,421 {\an1}HE BELIEVED IT WAS "MAYBE THE BEST BOOK YET," 283 00:16:46,454 --> 00:16:50,421 {\an1}HE TOLD A FRIEND, AND IT WAS GENERALLY WELL-RECEIVED: 284 00:16:50,454 --> 00:16:51,654 {\an1}H.L. MENCKEN CALLED IT 285 00:16:51,687 --> 00:16:53,721 {\an1}"AN EXTRAORDINARILY FINE PIECE 286 00:16:53,754 --> 00:16:56,054 {\an1}"OF EXPOSITORY WRITING... 287 00:16:56,087 --> 00:16:58,321 {\an1}"FULL OF THE VIVIDNESS OF SOMETHING REALLY 288 00:16:58,354 --> 00:17:01,854 {\an1}SEEN, FELT, EXPERIENCED." 289 00:17:03,121 --> 00:17:06,821 BUT OTHER CRITICS WERE DISAPPOINTED. 290 00:17:06,854 --> 00:17:09,521 {\an1}IN A DISMISSIVE "NEW REPUBLIC" REVIEW TITLED 291 00:17:09,554 --> 00:17:11,521 {\an1}"BULL IN THE AFTERNOON," 292 00:17:11,554 --> 00:17:13,254 {\an1}THE CRITIC MAX EASTMAN 293 00:17:13,287 --> 00:17:15,687 {\an1}DISMISSED BULLFIGHTING AS NOTHING MORE THAN 294 00:17:15,721 --> 00:17:18,254 {\an1}RITUALIZED CRUELTY... 295 00:17:18,287 --> 00:17:20,254 {\an1}AND SUGGESTED HEMINGWAY HIMSELF 296 00:17:20,287 --> 00:17:23,487 {\an1}WAS INSECURE IN HIS MANHOOD, GUILTY OF 297 00:17:23,521 --> 00:17:26,521 {\an1}"WEARING FALSE HAIR ON HIS CHEST." 298 00:17:28,521 --> 00:17:31,287 {\an1}HEMINGWAY WAS LIVID. 4 YEARS LATER, 299 00:17:31,321 --> 00:17:35,054 {\an1}HE WOULD CORNER EASTMAN, TEARING OPEN HIS OWN SHIRT 300 00:17:35,087 --> 00:17:37,654 {\an1}TO SHOW HOW MUCH HAIR GREW ON HIS CHEST, 301 00:17:37,687 --> 00:17:41,854 {\an1}AND SHOUTING, "WHAT DO YOU MEAN ACCUSING ME OF IMPOTENCE?" 302 00:17:41,887 --> 00:17:45,187 {\an1}BEFORE SLAPPING THE CRITIC WITH A BOOK. 303 00:17:48,654 --> 00:17:50,687 {\an1}[KOPEÉ TIATIE CAC'S "AKAMBA" PLAYING] 304 00:17:54,687 --> 00:17:55,730 {\an1}MAN AS HEMINGWAY: IT IS PLEASANT TO HUNT SOMETHING 305 00:17:55,754 --> 00:17:57,121 {\an1}THAT YOU WANT VERY MUCH 306 00:17:57,154 --> 00:17:59,721 {\an1}OVER A LONG PERIOD OF TIME, 307 00:17:59,754 --> 00:18:02,054 {\an1}BEING OUTWITTED, OUTMANEUVERED, 308 00:18:02,087 --> 00:18:04,854 {\an1}AND FAILING AT THE END OF EACH DAY, 309 00:18:04,887 --> 00:18:06,821 {\an1}BUT HAVING THE HUNT AND KNOWING 310 00:18:06,854 --> 00:18:10,887 {\an1}EVERY TIME YOU ARE OUT THAT, SOONER OR LATER, 311 00:18:10,921 --> 00:18:13,487 {\an1}YOUR LUCK WILL CHANGE AND THAT YOU WILL GET 312 00:18:13,521 --> 00:18:16,854 {\an1}THE CHANCE THAT YOU ARE SEEKING. 313 00:18:16,887 --> 00:18:18,154 [GUNSHOT] 314 00:18:18,187 --> 00:18:19,397 NARRATOR: EVER SINCE HE WAS A BOY, 315 00:18:19,421 --> 00:18:20,887 {\an1}HEMINGWAY HAD HOPED TO GO 316 00:18:20,921 --> 00:18:23,554 {\an1}ON A HUNTING SAFARI IN EAST AFRICA, 317 00:18:23,587 --> 00:18:27,854 JUST AS HIS HERO THEODORE ROOSEVELT HAD. 318 00:18:27,887 --> 00:18:32,154 IN LATE 1933, PAULINE'S GENEROUS UNCLE GUS 319 00:18:32,187 --> 00:18:37,421 {\an1}PROVIDED THE ENORMOUS SUM WITH WHICH TO MAKE IT HAPPEN. 320 00:18:37,454 --> 00:18:39,521 TO SERVE AS THE HEMINGWAYS' GUIDE, 321 00:18:39,554 --> 00:18:42,521 {\an1}THEY HIRED PHILIP PERCIVAL, WHO AS A YOUNG MAN 322 00:18:42,554 --> 00:18:45,554 HAD BEEN PART OF THE ROOSEVELT EXPEDITION. 323 00:18:45,587 --> 00:18:48,454 {\an1}CHARLES THOMPSON, A FRIEND AND FISHING COMPANION 324 00:18:48,487 --> 00:18:51,454 FROM KEY WEST, CAME ALONG AS WELL. 325 00:18:52,787 --> 00:18:55,887 {\an1}DURING THE TWO-MONTH SAFARI, THE HEMINGWAY PARTY 326 00:18:55,921 --> 00:18:59,287 {\an1}WOULD SHOOT 5 LIONS, 4 CAPE BUFFALO, 327 00:18:59,321 --> 00:19:01,854 {\an1}TWO RHINO, TWO LEOPARDS, 328 00:19:01,887 --> 00:19:05,954 {\an1}5 CHEETAHS, A HOST OF GAZELLES AND ANTELOPE 329 00:19:05,987 --> 00:19:07,287 {\an1}WITH WHICH TO FEED THE CAMP, 330 00:19:07,321 --> 00:19:09,387 {\an1}AND 44 HYENAS FOR WHAT 331 00:19:09,421 --> 00:19:12,021 {\an1}HEMINGWAY CALLED "AMUSEMENT." 332 00:19:13,187 --> 00:19:15,554 {\an1}DUDLEY: AFRICA, FOR HEMINGWAY, PROVIDED THE PERFECT SPACE 333 00:19:15,587 --> 00:19:19,987 {\an1}WITHIN WHICH HE COULD EXERCISE HIS HYPER-MASCULINE MUSCLES; 334 00:19:20,021 --> 00:19:22,921 {\an7}WHERE HE COULD BE THE "GREAT WHITE CONQUERING HERO," UH, 335 00:19:22,954 --> 00:19:26,721 {\an8}AT A TIME WHERE, AT LEAST, IN SOME SENSE, 336 00:19:26,754 --> 00:19:29,254 {\an1}THAT WHOLE PERSONA WAS COMING UNDER FIRE HERE, 337 00:19:29,287 --> 00:19:31,721 {\an1}BACK HERE IN AMERICA. 338 00:19:31,754 --> 00:19:36,587 {\an1}WOLFF: I THINK IN SOME WAYS HE ESCAPED INTO HUNTING. 339 00:19:36,621 --> 00:19:40,321 {\an1}I THINK HE REALLY LOVED IT FROM HIS EARLIEST DAYS 340 00:19:40,354 --> 00:19:44,487 {\an7}AND I BE... BELIEVE THAT, THAT PASSION WAS SINCERE 341 00:19:44,521 --> 00:19:46,987 {\an7}AND NOT JUST A, A POSE. 342 00:19:47,021 --> 00:19:51,487 {\an8}BUT I WILL ADMIT THAT IT PUZZLES ME A BIT 343 00:19:51,521 --> 00:19:58,487 {\an1}THAT HAVING SEEN SO MUCH VIOLENCE, SO MUCH KILLING, 344 00:19:58,521 --> 00:20:01,354 {\an1}NOT JUST DEATH BUT KILLING, 345 00:20:01,387 --> 00:20:05,454 {\an1}THE PLEASURE IN KILLING IS A MYSTERY TO ME. 346 00:20:05,487 --> 00:20:07,987 {\an1}I DON'T... I, I DON'T UNDERSTAND IT. 347 00:20:10,321 --> 00:20:13,387 {\an1}MAN AS HEMINGWAY: I DID NOTHING THAT HAD NOT BEEN DONE TO ME. 348 00:20:13,421 --> 00:20:17,654 {\an1}I HAD BEEN SHOT AND I HAD BEEN CRIPPLED AND GOTTEN AWAY. 349 00:20:17,687 --> 00:20:21,321 {\an1}I EXPECTED, ALWAYS, TO BE KILLED BY ONE THING OR ANOTHER 350 00:20:21,354 --> 00:20:24,821 {\an1}AND I, TRULY, DID NOT MIND THAT ANY MORE. 351 00:20:24,854 --> 00:20:28,487 {\an1}SINCE I STILL LOVED TO HUNT, I RESOLVED THAT I WOULD ONLY SHOOT 352 00:20:28,521 --> 00:20:31,121 {\an1}AS LONG AS I COULD KILL CLEANLY, 353 00:20:31,154 --> 00:20:34,787 {\an1}AND AS SOON AS I LOST THAT ABILITY, I WOULD STOP. 354 00:20:37,654 --> 00:20:39,587 {\an1}NARRATOR: THINGS DID NOT ALWAYS GO WELL, 355 00:20:39,621 --> 00:20:43,787 [GUNSHOT] AND HE OFTEN SHOT BADLY. 356 00:20:43,821 --> 00:20:47,354 {\an1}HE SUFFERED AN ATTACK OF AMOEBIC DYSENTERY SO SEVERE 357 00:20:47,387 --> 00:20:50,621 {\an1}HE HAD TO BE AIRLIFTED PAST THE SNOW-CAPPED PEAK 358 00:20:50,654 --> 00:20:53,421 {\an1}OF MOUNT KILIMANJARO TO NAIROBI 359 00:20:53,454 --> 00:20:57,154 {\an1}AND KEPT THERE FOR A WEEK UNDER A DOCTOR'S CARE. 360 00:21:00,054 --> 00:21:01,321 {\an1}BUT DESPITE IT ALL, 361 00:21:01,354 --> 00:21:02,854 {\an1}EVERYTHING ABOUT THE CONTINENT 362 00:21:02,887 --> 00:21:04,321 ENTHRALLED HIM 363 00:21:04,354 --> 00:21:06,321 {\an1}AND HE TOOK DETAILED NOTES, 364 00:21:06,354 --> 00:21:07,687 {\an1}PLANNING TO TURN THEM INTO 365 00:21:07,721 --> 00:21:09,987 {\an1}ANOTHER WORK OF NONFICTION. 366 00:21:11,187 --> 00:21:12,687 {\an1}"I NEVER KNEW OF A MORNING IN AFRICA 367 00:21:12,721 --> 00:21:14,054 {\an1}"WHEN I WOKE THAT I WAS 368 00:21:14,087 --> 00:21:16,854 {\an1}NOT HAPPY," HE WOULD WRITE. 369 00:21:16,887 --> 00:21:21,021 {\an1}HE LOVED THE LANDSCAPE, THE BLUE OVER-ARCHING SKY, 370 00:21:21,054 --> 00:21:24,521 {\an1}THE TEEMING WILDLIFE... ABOVE ALL, 371 00:21:24,554 --> 00:21:29,321 {\an1}THE ISOLATION HE CRAVED BUT HAD RARELY FOUND AT HOME. 372 00:21:29,354 --> 00:21:31,687 {\an1}[JOHNNY GANDELSMAN'S "LA PLENTITUD MIX 2" PLAYING] 373 00:21:31,721 --> 00:21:32,797 MAN AS HEMINGWAY: ALL I WANTED TO DO NOW 374 00:21:32,821 --> 00:21:35,621 {\an1}WAS GET BACK TO AFRICA. 375 00:21:35,654 --> 00:21:38,021 {\an1}WE HAD NOT LEFT IT YET, 376 00:21:38,054 --> 00:21:39,654 {\an1}BUT WHEN I WOULD WAKE IN THE NIGHT, 377 00:21:39,687 --> 00:21:44,054 {\an1}I WOULD LIE, LISTENING, HOMESICK FOR IT ALREADY. 378 00:21:46,421 --> 00:21:47,987 {\an1}I LOVED THE COUNTRY 379 00:21:48,021 --> 00:21:49,754 {\an1}SO THAT I WAS AS HAPPY AS YOU ARE 380 00:21:49,787 --> 00:21:52,754 {\an1}AFTER YOU HAVE BEEN WITH A WOMAN THAT YOU REALLY LOVE, 381 00:21:52,787 --> 00:21:56,821 {\an1}WHEN, EMPTY, YOU FEEL IT WELLING UP AGAIN... 382 00:21:59,087 --> 00:22:03,654 {\an1}AND THERE IT IS AND YOU CAN NEVER HAVE IT ALL 383 00:22:03,687 --> 00:22:07,487 {\an1}AND YET WHAT THERE IS, NOW, YOU CAN HAVE, 384 00:22:07,521 --> 00:22:10,787 {\an1}AND YOU WANT MORE AND MORE, TO HAVE, 385 00:22:10,821 --> 00:22:13,721 {\an1}AND BE, AND LIVE IN, 386 00:22:13,754 --> 00:22:16,887 {\an1}TO POSSESS NOW AGAIN FOR ALWAYS, 387 00:22:16,921 --> 00:22:20,854 FOR THAT LONG, SUDDEN-ENDED ALWAYS. 388 00:22:22,721 --> 00:22:25,854 {\an1}I HAD LOVED COUNTRY ALL MY LIFE; 389 00:22:25,887 --> 00:22:28,854 {\an1}THE COUNTRY WAS ALWAYS BETTER THAN THE PEOPLE. 390 00:22:28,887 --> 00:22:33,087 {\an1}I COULD ONLY CARE ABOUT PEOPLE A VERY FEW AT A TIME. 391 00:22:36,154 --> 00:22:39,074 {\an1}[DUKE ELLINGTON & BUBBER MILEY'S "THE NEW EAST ST. LOUIS TOODLE-O" PLAYING] 392 00:22:44,254 --> 00:22:46,754 {\an1}NARRATOR: WHEN THE HEMINGWAYS RETURNED FROM AFRICA, 393 00:22:46,787 --> 00:22:48,654 {\an1}THE UNITED STATES WAS ENTERING THE FIFTH YEAR 394 00:22:48,687 --> 00:22:50,921 {\an1}OF THE GREAT DEPRESSION. 395 00:22:50,954 --> 00:22:55,121 {\an1}FEW REGIONS HAD SUFFERED MORE THAN THE FLORIDA KEYS. 396 00:22:55,154 --> 00:22:58,487 {\an1}KEY WEST ITSELF WAS OFFICIALLY BANKRUPT. 397 00:22:58,521 --> 00:23:03,187 8 OF 10 LOCAL RESIDENTS WERE ON RELIEF. 398 00:23:03,221 --> 00:23:06,854 {\an1}PRESIDENT FRANKLIN ROOSEVELT'S EMERGENCY RELIEF ADMINISTRATION 399 00:23:06,887 --> 00:23:09,554 {\an1}RESOLVED TO TRANSFORM THE DYING TOWN 400 00:23:09,587 --> 00:23:12,287 {\an1}INTO A TOURIST ATTRACTION... 401 00:23:12,321 --> 00:23:14,554 {\an1}"THE BERMUDA OF FLORIDA." 402 00:23:15,821 --> 00:23:19,987 {\an1}THE ONCE-SLEEPY STREETS SOON BUSTLED WITH VISITORS, 403 00:23:20,021 --> 00:23:21,921 {\an1}THOUSANDS OF THEM. 404 00:23:21,954 --> 00:23:24,254 THEY WANDERED ONTO HEMINGWAY'S LAWN, 405 00:23:24,287 --> 00:23:27,654 {\an1}PEERED IN THE WINDOWS, KNOCKED AT THE DOOR. 406 00:23:27,687 --> 00:23:29,354 TO KEEP THEM OUT, HE HAD A BRICK WALL 407 00:23:29,387 --> 00:23:32,287 {\an1}BUILT AROUND HIS PROPERTY. 408 00:23:32,321 --> 00:23:33,787 {\an1}[SHIP'S HORN BLOWING] 409 00:23:33,821 --> 00:23:35,854 TO GET AWAY... AND GET IN MORE FISHING... 410 00:23:35,887 --> 00:23:38,487 HE SAILED OFTEN TO HAVANA, CUBA... 411 00:23:38,521 --> 00:23:42,187 {\an1}SOME 100 MILES ACROSS THE STRAITS OF FLORIDA... 412 00:23:42,221 --> 00:23:44,187 WHERE HE HOLED UP FOR WEEKS AT A TIME 413 00:23:44,221 --> 00:23:50,287 {\an1}AT THE SEVILLA BILTMORE HOTEL IN THE HEART OF THE OLD CITY, 414 00:23:50,321 --> 00:23:53,287 {\an1}WRITING IN THE MORNING, DRINKING IN THE AFTERNOONS 415 00:23:53,321 --> 00:23:56,621 {\an1}AT HIS FAVORITE BAR, LA FLORIDITA. 416 00:24:02,421 --> 00:24:05,030 MAN AS HEMINGWAY: THE GULF STREAM AND THE OTHER GREAT OCEAN CURRENTS 417 00:24:05,054 --> 00:24:07,854 {\an1}ARE THE LAST WILD COUNTRY THERE IS LEFT. 418 00:24:09,321 --> 00:24:12,187 {\an1}ONCE YOU ARE OUT OF SIGHT OF LAND AND OF THE OTHER BOATS, 419 00:24:12,221 --> 00:24:15,187 {\an1}YOU ARE MORE ALONE THAN YOU CAN EVER BE HUNTING 420 00:24:15,221 --> 00:24:18,521 {\an1}AND THE SEA IS THE SAME AS IT HAS BEEN 421 00:24:18,554 --> 00:24:20,387 {\an1}SINCE BEFORE MEN EVER WENT ON IT IN BOATS. 422 00:24:22,687 --> 00:24:24,221 {\an1}NO ONE KNOWS WHAT FISH LIVE IN IT, 423 00:24:24,254 --> 00:24:28,154 {\an1}OR HOW GREAT SIZE THEY REACH OR WHAT AGE. 424 00:24:28,187 --> 00:24:31,687 {\an1}WHEN YOU ARE DRIFTING, OUT OF SIGHT OF LAND, 425 00:24:31,721 --> 00:24:38,887 {\an1}FISHING 4 LINES, 60, 80, 100, AND 150 FATHOMS DOWN, 426 00:24:38,921 --> 00:24:42,187 IN WATER THAT IS 700 FATHOMS DEEP, 427 00:24:42,221 --> 00:24:44,421 {\an1}YOU NEVER KNOW WHAT MAY TAKE THE SMALL TUNA 428 00:24:44,454 --> 00:24:46,987 {\an1}THAT YOU USE FOR BAIT, AND EVERY TIME 429 00:24:47,021 --> 00:24:49,721 {\an1}THE LINE STARTS TO RUN OFF THE REEL, 430 00:24:49,754 --> 00:24:53,221 {\an1}SLOWLY FIRST, THEN WITH A SCREAM OF THE CLICK 431 00:24:53,254 --> 00:24:56,187 AS THE ROD BENDS AND YOU FEEL IT DOUBLE 432 00:24:56,221 --> 00:24:58,587 {\an1}AND THE HUGE WEIGHT OF THE FRICTION OF THE LINE 433 00:24:58,621 --> 00:25:00,587 {\an1}RUSHING THROUGH THAT DEPTH OF WATER 434 00:25:00,621 --> 00:25:06,954 {\an1}WHILE YOU PUMP AND REEL, PUMP AND REEL, PUMP AND REEL, 435 00:25:06,987 --> 00:25:08,954 {\an1}TRYING TO GET THE BELLY OUT OF THE LINE 436 00:25:08,987 --> 00:25:12,287 {\an1}BEFORE THE FISH JUMPS, 437 00:25:12,321 --> 00:25:17,054 {\an1}THERE IS ALWAYS A THRILL THAT NEEDS NO DANGER TO MAKE IT REAL. 438 00:25:20,221 --> 00:25:22,721 {\an1}NARRATOR: HEMINGWAY HAD A 38-FOOT FISHING BOAT 439 00:25:22,754 --> 00:25:24,287 {\an1}CUSTOM BUILT FOR HIMSELF... 440 00:25:24,321 --> 00:25:26,054 {\an1}"A STURDY BOAT," HE WROTE, 441 00:25:26,087 --> 00:25:28,587 {\an1}"SWEET IN ANY KIND OF SEA." 442 00:25:28,621 --> 00:25:32,887 {\an1}HE NAMED HER "PILAR," ONE OF HIS NICKNAMES FOR PAULINE, 443 00:25:32,921 --> 00:25:36,121 {\an1}AND HE SPENT WEEKS SAILING THE WATERS OFF KEY WEST 444 00:25:36,154 --> 00:25:38,087 {\an1}AND THE GULF STREAM OFF CUBA 445 00:25:38,121 --> 00:25:40,554 AND AROUND BIMINI IN THE BAHAMAS, 446 00:25:40,587 --> 00:25:44,087 {\an1}IN SEARCH OF GOOD TIMES AND GIANT FISH. 447 00:25:44,121 --> 00:25:46,154 {\an1}[GERARDO MARTIÍNEZ'S "ROMAÁNTICA MUJER" PLAYING] 448 00:25:58,987 --> 00:26:02,554 PATRICK: THAT WAS SHEER HAPPINESS FOR HIM. 449 00:26:02,587 --> 00:26:06,854 {\an1}I'VE ALWAYS THOUGHT THAT SEEING THE FISH COME 450 00:26:06,887 --> 00:26:11,221 {\an1}IS LIKE SEEING A HUGE ELEPHANT OR A TIGER CERTAINLY 451 00:26:11,254 --> 00:26:13,587 {\an1}EMERGE FROM THE SEA. 452 00:26:13,621 --> 00:26:15,187 {\an7}YOU DON'T HAVE ANY WARNING. 453 00:26:15,221 --> 00:26:17,054 {\an7}THEY'RE JUST SUDDENLY THERE, YOU KNOW. 454 00:26:17,087 --> 00:26:19,254 {\an7}AND THAT... THAT I THINK 455 00:26:19,287 --> 00:26:21,821 WAS A THRILL THAT HE NEVER GOT ENOUGH OF. 456 00:26:25,187 --> 00:26:27,521 {\an1}NARRATOR: MOST OF THE PASSENGERS ABOARD THE "PILAR" 457 00:26:27,554 --> 00:26:31,287 {\an1}WERE OLD FRIENDS LIKE THE POET ARCHIBALD MACLEISH 458 00:26:31,321 --> 00:26:33,954 {\an1}AND THE NOVELIST JOHN DOS PASSOS 459 00:26:33,987 --> 00:26:37,821 {\an1}AND HEMINGWAY'S LONG-TIME EDITOR MAXWELL PERKINS. 460 00:26:37,854 --> 00:26:40,854 {\an1}BUT THERE WERE OFTEN NEW PEOPLE ABOARD, TOO, 461 00:26:40,887 --> 00:26:43,321 YACHTSMEN AND BIG-GAME FISHERMEN, 462 00:26:43,354 --> 00:26:46,621 {\an1}RICH MEN AND THEIR WIVES DRAWN TO AMERICA'S 463 00:26:46,654 --> 00:26:49,554 {\an1}MOST CELEBRATED WRITER, AS WELL AS 464 00:26:49,587 --> 00:26:54,854 {\an1}ARNOLD GINGRICH, EDITOR OF A NEW MEN'S MAGAZINE CALLED "ESQUIRE," 465 00:26:54,887 --> 00:26:57,754 {\an1}WHO PAID HEMINGWAY HANDSOMELY FOR A NEW COLUMN 466 00:26:57,787 --> 00:27:00,754 {\an1}ABOUT HUNTING AND FISHING AND ANYTHING ELSE 467 00:27:00,787 --> 00:27:03,021 {\an1}THAT HAPPENED TO CROSS HIS MIND. 468 00:27:06,687 --> 00:27:09,554 WHEREVER HE WAS, WHATEVER HE WAS DOING, 469 00:27:09,587 --> 00:27:13,087 {\an1}ALCOHOL FUELED EVERYTHING. 470 00:27:13,121 --> 00:27:15,087 MAN AS HEMINGWAY: I HAVE DRUNK SINCE I WAS 15 471 00:27:15,121 --> 00:27:18,721 {\an1}AND FEW THINGS HAVE GIVEN ME MORE PLEASURE. 472 00:27:18,754 --> 00:27:20,954 {\an1}WHEN YOU WORK HARD ALL DAY WITH YOUR HEAD 473 00:27:20,987 --> 00:27:23,554 {\an1}AND KNOW YOU MUST WORK AGAIN THE NEXT DAY, 474 00:27:23,587 --> 00:27:25,721 {\an1}WHAT ELSE CAN CHANGE YOUR IDEAS AND MAKE THEM 475 00:27:25,754 --> 00:27:28,621 {\an1}RUN ON A DIFFERENT PLANE LIKE WHISKY? 476 00:27:28,654 --> 00:27:31,287 [SIDNEY BECHET'S "SOBBIN' AND CRYIN'" PLAYING] 477 00:27:31,321 --> 00:27:33,854 {\an1}KARR: I BELIEVE THAT THE TERRIBLE THING ABOUT ALCOHOL, 478 00:27:33,887 --> 00:27:37,054 {\an7}FOR WRITERS, IS THAT IT WORKS, AT FIRST. 479 00:27:37,087 --> 00:27:40,021 {\an7}THAT IT WORKS GREAT. YOU'RE ANXIOUS. 480 00:27:40,054 --> 00:27:41,754 YOU'RE WOUND UP AT THE END OF THE DAY. 481 00:27:41,787 --> 00:27:43,754 {\an1}YOU HAVE NO WAY TO CALM DOWN. 482 00:27:43,787 --> 00:27:46,254 {\an1}YOU HAVE A FEW POPS AND YOU FEEL BETTER. 483 00:27:47,554 --> 00:27:50,021 {\an1}NARRATOR: ONCE ON BIMINI, A WEALTHY YACHTSMAN, 484 00:27:50,054 --> 00:27:52,221 {\an1}DRUNK AND BELLIGERENT, CALLED HEMINGWAY 485 00:27:52,254 --> 00:27:54,954 {\an1}A "PHONY" AND A "BIG FAT SLOB." 486 00:27:54,987 --> 00:27:59,254 {\an1}HEMINGWAY, JUST AS DRUNK, KNOCKED HIM COLD. 487 00:27:59,287 --> 00:28:02,154 {\an1}WORD SPREAD FAST ACROSS THE ISLAND. 488 00:28:02,187 --> 00:28:05,021 {\an1}"WHEN ANYONE IS TIGHT HERE OR FEELS DANGEROUS," 489 00:28:05,054 --> 00:28:06,787 {\an1}HEMINGWAY TOLD A FRIEND, 490 00:28:06,821 --> 00:28:10,121 {\an1}"THEY ASK ME TO FIGHT." 491 00:28:10,154 --> 00:28:13,987 {\an1}HEMINGWAY LET IT BE KNOWN THAT HE WOULD PAY $250 492 00:28:14,021 --> 00:28:17,521 {\an1}TO ANYONE WHO COULD STAY WITH HIM FOR 3 ROUNDS. 493 00:28:17,554 --> 00:28:21,021 {\an1}NO ONE EVER CLAIMED THE MONEY. 494 00:28:21,054 --> 00:28:25,821 {\an1}KARR: I THINK THE MASCULINITY MUST HAVE BEEN SO CONSTRICTING. 495 00:28:25,854 --> 00:28:27,954 {\an1}HE'S DRAWN TO ALL THESE BIG, BUTCH THINGS, 496 00:28:27,987 --> 00:28:32,454 {\an1}HE COULD HIT SOMEBODY AND THEY'D FEEL THE PUNCH, OR WHATEVER. 497 00:28:32,487 --> 00:28:34,854 {\an1}IT DOES SEEM A LITTLE WEARYING. 498 00:28:36,687 --> 00:28:40,654 {\an1}EDNA O'BRIEN: I THINK ORDINARY LIFE WAS ANATHEMA TO HIM. 499 00:28:42,221 --> 00:28:45,521 {\an7}IT HAD TO BE A LIFE OF ADVENTURE 500 00:28:45,554 --> 00:28:50,087 {\an7}AND THAT ADVENTURE WAS IN LIEU, IF THAT'S THE RIGHT WORD, 501 00:28:50,121 --> 00:28:55,021 OF A DEEP-SEATED LONELINESS AND DEPRESSION. 502 00:28:57,521 --> 00:29:01,421 {\an1}MAN: HE HAS BECOME THE LEGENDARY HEMINGWAY. 503 00:29:01,454 --> 00:29:04,121 {\an1}HE APPEARS TO HAVE TURNED INTO A COMPOSITE 504 00:29:04,154 --> 00:29:06,254 {\an1}OF ALL THOSE PHOTOGRAPHS... 505 00:29:06,287 --> 00:29:09,221 {\an1}SUNBURNED FROM SNOWS, ON SKIS; 506 00:29:09,254 --> 00:29:13,187 {\an1}IN FISHING GET-UP, BURNED DARK FROM THE HOT CARIBBEAN; 507 00:29:13,221 --> 00:29:16,121 {\an1}THE HANDSOME, STALWART HUNTER CROUCHED SMILING 508 00:29:16,154 --> 00:29:19,721 {\an1}OVER THE CARCASS OF SOME DEAD BEAST. 509 00:29:19,754 --> 00:29:23,287 {\an1}SUCH A MAN COULD NOT HAVE WRITTEN HEMINGWAY'S EARLY BOOKS. 510 00:29:23,321 --> 00:29:26,587 {\an1}IT IS HARD NOT TO WONDER WHETHER HE HAS NOT, HUNTING, 511 00:29:26,621 --> 00:29:29,254 {\an1}BROUGHT DOWN AN EVEN GREATER VICTIM. 512 00:29:30,487 --> 00:29:31,587 {\an1}"THE NEW REPUBLIC." 513 00:29:37,621 --> 00:29:40,261 MAN AS HEMINGWAY: NARRATIVE THAT IS EXCITING AND STILL IS LITERATURE 514 00:29:40,287 --> 00:29:42,587 IS VERY RARE. 515 00:29:42,621 --> 00:29:46,587 {\an1}YOU HAVE TO MAKE THE COUNTRY, NOT DESCRIBE IT. 516 00:29:46,621 --> 00:29:49,854 {\an1}IT IS AS HARD TO DO AS PAINT A CEZANNE... 517 00:29:49,887 --> 00:29:52,421 {\an1}AND I'M THE ONLY BASTARD RIGHT NOW WHO CAN DO IT. 518 00:29:54,754 --> 00:29:57,187 {\an1}NARRATOR: IN 1935, HEMINGWAY PUBLISHED 519 00:29:57,221 --> 00:29:59,487 {\an1}"GREEN HILLS OF AFRICA," 520 00:29:59,521 --> 00:30:01,887 {\an1}A NONFICTION ACCOUNT OF HIS SAFARI, 521 00:30:01,921 --> 00:30:05,921 {\an1}IN WHICH HE WAS AGAIN THE CENTRAL CHARACTER. 522 00:30:05,954 --> 00:30:07,854 THE BOOK IS THE SUSPENSEFUL STORY 523 00:30:07,887 --> 00:30:11,454 {\an1}OF HIS MONTH-LONG COMPETITION WITH HIS HUNTING COMPANION 524 00:30:11,487 --> 00:30:15,587 {\an1}TO KILL THE GREATER KUDU WITH THE LONGEST HORNS. 525 00:30:15,621 --> 00:30:17,697 {\an5}[BACH'S "PARTITIA FOR SOLO VIOLIN NO.1 IN B MINOR V SARABANDE VARIATION 1" PLAYING] 526 00:30:17,721 --> 00:30:19,254 MAN AS HEMINGWAY: I LOOKED AT HIM, 527 00:30:19,287 --> 00:30:21,287 BIG, LONG-LEGGED, 528 00:30:21,321 --> 00:30:23,387 {\an1}A SMOOTH GRAY WITH THE WHITE STRIPES 529 00:30:23,421 --> 00:30:26,121 {\an1}AND THE GREAT, CURLING, SWEEPING HORNS, 530 00:30:26,154 --> 00:30:30,187 {\an1}BROWN AS WALNUT MEATS, AND IVORY POINTED, 531 00:30:30,221 --> 00:30:34,321 {\an1}AT THE BIG EARS AND THE GREAT, LOVELY, HEAVY-MANED NECK, 532 00:30:34,354 --> 00:30:36,687 THE WHITE CHEVRON BETWEEN HIS EYES 533 00:30:36,721 --> 00:30:39,254 {\an1}AND THE WHITE OF HIS MUZZLE, 534 00:30:39,287 --> 00:30:41,154 {\an1}AND I STOOPED OVER AND TOUCHED HIM 535 00:30:41,187 --> 00:30:42,854 {\an1}TO TRY TO BELIEVE IT. 536 00:30:42,887 --> 00:30:44,654 [DAVID CIERI'S "DUST RISING" PLAYING] 537 00:30:44,687 --> 00:30:46,721 {\an1}NARRATOR: IN THE BOOK, HE PORTRAYED HIMSELF AS BOTH 538 00:30:46,754 --> 00:30:51,321 {\an1}AN EXPERT ON EVERYTHING AND A BAD LOSER. 539 00:30:51,354 --> 00:30:54,254 {\an1}HE COMPLAINED ABOUT WHAT HEEDLESS AMERICANS HAD DONE 540 00:30:54,287 --> 00:30:57,054 {\an1}TO SPOIL THEIR OWN LANDSCAPE 541 00:30:57,087 --> 00:30:59,421 {\an1}AND WAS ALSO GIVEN TO PONTIFICATING 542 00:30:59,454 --> 00:31:02,887 {\an1}ON WHICH AMERICAN WRITERS WERE WORTH READING. 543 00:31:04,521 --> 00:31:07,321 {\an1}"ALL MODERN AMERICAN LITERATURE," HE DECLARED, 544 00:31:07,354 --> 00:31:10,154 {\an1}"COMES FROM ONE BOOK BY MARK TWAIN 545 00:31:10,187 --> 00:31:12,487 {\an1}CALLED "HUCKLEBERRY FINN."" 546 00:31:14,554 --> 00:31:17,454 {\an1}HEMINGWAY WAS ESPECIALLY PROUD OF HIS NEW BOOK. 547 00:31:17,487 --> 00:31:19,921 {\an1}BUT IN IT, HE HAD CALLED CRITICS 548 00:31:19,954 --> 00:31:23,454 {\an1}"THE LICE WHO CRAWL ON LITERATURE." 549 00:31:23,487 --> 00:31:25,854 {\an1}THE LICE BIT BACK. 550 00:31:25,887 --> 00:31:29,121 {\an1}JOHN CHAMBERLAIN DISMISSED THE BOOK IN "THE NEW YORK TIMES" 551 00:31:29,154 --> 00:31:33,154 AS "ALL ATTITUDE, ALL BYRONIC POSTURING." 552 00:31:33,187 --> 00:31:34,954 {\an1}BERNARD DE VOTO CALLED IT 553 00:31:34,987 --> 00:31:38,521 {\an1}"A PRETTY SMALL BOOK FOR A BIG MAN TO WRITE." 554 00:31:40,521 --> 00:31:41,821 {\an1}THE MOST DISAPPOINTING REVIEW 555 00:31:41,854 --> 00:31:43,054 {\an1}CAME FROM AMERICA'S 556 00:31:43,087 --> 00:31:44,754 {\an1}MOST ADMIRED CRITIC, 557 00:31:44,787 --> 00:31:46,221 EDMUND WILSON, 558 00:31:46,254 --> 00:31:48,654 AN EARLY CHAMPION OF HEMINGWAY'S WORK, 559 00:31:48,687 --> 00:31:52,454 {\an1}WHO WROTE, "SOMETHING FRIGHTFUL SEEMS TO HAPPEN TO HEMINGWAY 560 00:31:52,487 --> 00:31:55,954 {\an1}"AS SOON AS HE BEGINS TO WRITE IN THE FIRST PERSON. 561 00:31:55,987 --> 00:31:59,754 {\an1}"HE SEEMS TO LOSE ALL HIS CAPACITY FOR SELF-CRITICISM 562 00:31:59,787 --> 00:32:02,354 AND HAS A WAY OF SOUNDING SILLY." 563 00:32:03,921 --> 00:32:06,754 {\an1}HEMINGWAY TOOK IT HARD. 564 00:32:06,787 --> 00:32:08,163 MAN AS HEMINGWAY: TOOK TO GETTING UP ABOUT 565 00:32:08,187 --> 00:32:10,554 {\an1}TWO OR SO IN THE MORNING 566 00:32:10,587 --> 00:32:13,054 AND GOING OUT TO THE LITTLE HOUSE TO WORK. 567 00:32:14,621 --> 00:32:17,854 {\an1}HAD NEVER HAD THE REAL OLD MELANCHOLIA BEFORE 568 00:32:17,887 --> 00:32:22,854 {\an1}AND AM GLAD TO HAVE HAD IT SO I KNOW WHAT PEOPLE GO THROUGH. 569 00:32:22,887 --> 00:32:26,987 {\an1}IT MAKES ME MORE TOLERANT OF WHAT HAPPENED TO MY FATHER. 570 00:32:28,554 --> 00:32:32,387 {\an1}NARRATOR: ERNEST AND PAULINE HAD BEEN MOST HAPPY IN AFRICA, 571 00:32:32,421 --> 00:32:37,521 {\an1}BUT BACK HOME HE WAS GROWING INCREASINGLY DISSATISFIED. 572 00:32:37,554 --> 00:32:41,021 {\an1}HE WAS GRATEFUL FOR THE PFEIFFER FAMILY'S GENEROSITY 573 00:32:41,054 --> 00:32:45,187 {\an1}BUT HE ALSO FOUND HIS FREQUENT RELIANCE ON IT DEMEANING. 574 00:32:46,454 --> 00:32:50,421 {\an1}AND HE HAD SECRETLY BEGUN TO WEARY OF PAULINE, TOO. 575 00:32:52,921 --> 00:32:54,363 {\an1}"GREEN HILLS OF AFRICA" MAY NOT HAVE BEEN 576 00:32:54,387 --> 00:32:57,354 A CRITICAL OR COMMERCIAL SUCCESS, 577 00:32:57,387 --> 00:33:00,454 {\an1}BUT HIS TIME IN AFRICA WOULD ALSO INSPIRE 578 00:33:00,487 --> 00:33:03,454 TWO OF HIS BEST-REMEMBERED SHORT STORIES, 579 00:33:03,487 --> 00:33:07,687 {\an1}EACH OF WHICH CHARTS THE DISINTEGRATION OF A MARRIAGE. 580 00:33:10,654 --> 00:33:13,721 THE FIRST STORY, PUBLISHED IN "COSMOPOLITAN," 581 00:33:13,754 --> 00:33:17,787 {\an1}WAS "THE SHORT HAPPY LIFE OF FRANCIS MACOMBER." 582 00:33:17,821 --> 00:33:22,754 {\an1}FRANCIS AND MARGOT MACOMBER ARE WEALTHY AMERICANS ON SAFARI. 583 00:33:22,787 --> 00:33:27,321 {\an1}"THEY HAD A SOUND BASIS OF UNION," HEMINGWAY WROTE. 584 00:33:27,354 --> 00:33:30,787 {\an1}"MARGOT WAS TOO BEAUTIFUL FOR MACOMBER TO DIVORCE 585 00:33:30,821 --> 00:33:35,621 {\an1}AND MACOMBER HAD TOO MUCH MONEY FOR MARGOT EVER TO LEAVE HIM." 586 00:33:35,654 --> 00:33:39,787 {\an1}BUT HER HUSBAND'S MONEY HAD NOT KEPT HER FAITHFUL TO HIM 587 00:33:39,821 --> 00:33:43,454 {\an1}AND WHEN HE PANICS WHEN FACED WITH A CHARGING LION, 588 00:33:43,487 --> 00:33:45,721 {\an1}SHE DENOUNCES HIM AS A COWARD... 589 00:33:45,754 --> 00:33:47,454 {\an1}AND SLEEPS WITH THEIR GUIDE, 590 00:33:47,487 --> 00:33:50,187 {\an1}THE WHITE HUNTER ROBERT WILSON. 591 00:33:53,254 --> 00:33:54,630 MAN AS HEMINGWAY: HE REALIZED THAT HIS WIFE 592 00:33:54,654 --> 00:33:57,221 {\an1}WAS NOT IN THE OTHER COT IN THE TENT. 593 00:33:57,254 --> 00:34:00,154 {\an1}HE LAY AWAKE WITH THAT KNOWLEDGE FOR TWO HOURS. 594 00:34:01,721 --> 00:34:04,521 {\an1}AT THE END OF THAT TIME, HIS WIFE CAME INTO THE TENT, 595 00:34:04,554 --> 00:34:08,487 {\an1}LIFTED HER MOSQUITO BAR, AND CRAWLED COZILY INTO BED. 596 00:34:09,787 --> 00:34:13,387 {\an1}"WHERE HAVE YOU BEEN?" MACOMBER ASKED IN THE DARKNESS. 597 00:34:13,421 --> 00:34:17,454 {\an1}"HELLO," SHE SAID. "ARE YOU AWAKE?" 598 00:34:17,487 --> 00:34:19,021 {\an1}"WHERE HAVE YOU BEEN?" 599 00:34:20,587 --> 00:34:23,054 "I JUST WENT OUT TO GET A BREATH OF AIR." 600 00:34:23,087 --> 00:34:24,721 {\an1}"YOU DID, LIKE HELL." 601 00:34:26,387 --> 00:34:29,021 {\an1}"WHAT DO YOU WANT ME TO SAY, DARLING?" 602 00:34:29,054 --> 00:34:30,554 {\an1}"WHERE HAVE YOU BEEN?" 603 00:34:32,354 --> 00:34:34,054 {\an1}"OUT TO GET A BREATH OF AIR." 604 00:34:35,987 --> 00:34:39,954 {\an1}"THAT'S A NEW NAME FOR IT. YOU ARE A BITCH." 605 00:34:41,487 --> 00:34:43,087 {\an1}"WELL, YOU'RE A COWARD." 606 00:34:47,654 --> 00:34:49,330 {\an1}VERGHESE: THE MAN STARTS OFF AS BEING PORTRAYED 607 00:34:49,354 --> 00:34:52,987 {\an1}AS A SHAMELESS COWARD BUT FRANKLY, 608 00:34:53,021 --> 00:34:54,987 {\an7}WHICH OF US WOULDN'T TAKE OFF RUNNING 609 00:34:55,021 --> 00:34:57,587 {\an7}WHEN YOU SEE A LION [LAUGHS] COMING CHARGING AT YOU? 610 00:34:57,621 --> 00:34:59,187 {\an7}I MEAN, EVEN IF I HAD A GUN IN MY HAND, 611 00:34:59,221 --> 00:35:01,321 {\an1}I THINK I WOULD, IT WOULD TAKE 612 00:35:01,354 --> 00:35:03,254 {\an1}AN EXTRAORDINARY ACT OF WILL 613 00:35:03,287 --> 00:35:05,654 TO STAND THERE AND SHOOT THIS LION. 614 00:35:05,687 --> 00:35:08,921 {\an1}AND YET HE'S PORTRAYED AS THIS SHAMELESS COWARD 615 00:35:08,954 --> 00:35:10,530 {\an1}AND YOU WONDER HOW THE STORY'S GOING TO END 616 00:35:10,554 --> 00:35:13,854 {\an1}AND YOU ACTUALLY FEEL FOR HIM, 617 00:35:13,887 --> 00:35:16,787 {\an1}AND THEN HE'S ALSO BEING BETRAYED BY HIS WIFE. 618 00:35:18,487 --> 00:35:21,054 {\an1}EDNA O'BRIEN: AND, CERTAINLY, THE WOMAN IN THAT STORY 619 00:35:21,087 --> 00:35:22,754 {\an1}COMES OUT AS A MONSTER. 620 00:35:24,254 --> 00:35:26,021 {\an1}HEMINGWAY KNEW A LOT OF WOMEN LIKE THAT; 621 00:35:26,054 --> 00:35:27,921 {\an1}THERE ARE A LOT OF WOMEN LIKE THAT. 622 00:35:27,954 --> 00:35:30,387 THERE ARE A LOT OF MEN LIKE THAT. 623 00:35:30,421 --> 00:35:32,787 {\an1}THERE'S NOTHING I WOULD CHANGE IN THAT STORY 624 00:35:32,821 --> 00:35:35,054 BECAUSE HE KNEW WHEN TO PULL BACK. 625 00:35:35,087 --> 00:35:37,554 HE KNEW HOW MUCH OF HER FALSENESS, 626 00:35:37,587 --> 00:35:41,521 {\an1}HOW MUCH OF HER ACIDITY TO PUT ON THE PAGE. 627 00:35:42,821 --> 00:35:44,454 {\an1}IT'S A VERY BITTER STORY. 628 00:35:46,021 --> 00:35:47,730 {\an1}VERGHESE: BUT AT THE END OF THE STORY, HE FINDS 629 00:35:47,754 --> 00:35:50,654 {\an1}A DIFFERENT KIND OF COURAGE. 630 00:35:50,687 --> 00:35:53,387 IT HAS TO DO WITH STANDING UP TO HIS WIFE. 631 00:35:53,421 --> 00:35:56,321 {\an1}AND IT TERRIFIES HER. 632 00:35:56,354 --> 00:36:00,487 {\an1}NARRATOR: THE NEXT DAY, WHEN A WOUNDED BUFFALO CHARGES HIM, 633 00:36:00,521 --> 00:36:03,187 {\an1}MACOMBER STANDS HIS GROUND. 634 00:36:04,654 --> 00:36:06,163 MAN AS HEMINGWAY: WILSON, WHO WAS AHEAD, 635 00:36:06,187 --> 00:36:08,154 {\an1}WAS KNEELING SHOOTING, 636 00:36:08,187 --> 00:36:10,121 {\an1}AND MACOMBER, AS HE FIRED, 637 00:36:10,154 --> 00:36:13,587 {\an1}UNHEARING HIS SHOT IN THE ROARING OF WILSON'S GUN, 638 00:36:13,621 --> 00:36:18,821 {\an1}SAW FRAGMENTS LIKE SLATE BURST FROM THE HUGE BOSS OF THE HORNS, 639 00:36:18,854 --> 00:36:22,821 {\an1}AND THE HEAD JERKED, HE SHOT AGAIN AT THE WIDE NOSTRILS 640 00:36:22,854 --> 00:36:27,021 {\an1}AND SAW THE HORNS JOLT AGAIN AND FRAGMENTS FLY, 641 00:36:27,054 --> 00:36:30,621 {\an1}AND HE DID NOT SEE WILSON NOW AND, AIMING CAREFULLY, 642 00:36:30,654 --> 00:36:33,854 {\an1}SHOT AGAIN WITH THE BUFFALO'S HUGE BULK ALMOST ON HIM 643 00:36:33,887 --> 00:36:39,454 {\an1}AND HIS RIFLE ALMOST LEVEL WITH THE ON-COMING HEAD, NOSE OUT, 644 00:36:39,487 --> 00:36:41,487 AND HE COULD SEE THE LITTLE WICKED EYES 645 00:36:41,521 --> 00:36:46,354 {\an1}AND THE HEAD STARTED TO LOWER AND HE FELT A SUDDEN WHITE-HOT, 646 00:36:46,387 --> 00:36:50,287 {\an1}BLINDING FLASH EXPLODE INSIDE HIS HEAD... 647 00:36:52,687 --> 00:36:54,554 {\an1}AND THAT WAS ALL HE EVER FELT. 648 00:36:57,254 --> 00:36:59,221 {\an1}NARRATOR: HIS WIFE HAS SHOT HIM. 649 00:36:59,254 --> 00:37:01,387 {\an1}SHE SAID IT WAS AN ACCIDENT. 650 00:37:02,721 --> 00:37:05,321 {\an1}VERGHESE: I'M A BIG BELIEVER THAT, YOU KNOW, 651 00:37:05,354 --> 00:37:07,521 {\an1}THE PROCESS OF READING FICTION AS THE WRITER 652 00:37:07,554 --> 00:37:09,887 {\an1}PROVIDES YOU SOME OF THE WORDS, 653 00:37:09,921 --> 00:37:11,687 BUT YOU PROVIDE YOUR IMAGINATION. 654 00:37:11,721 --> 00:37:14,521 {\an1}AND THE GREAT PLEASURE IS THAT YOU'RE MAKING THIS MOVIE 655 00:37:14,554 --> 00:37:17,487 {\an1}AND... AH... IT'S ALWAYS STRIKING HOW DIFFERENT 656 00:37:17,521 --> 00:37:20,087 OUR MOVIES ARE AS READERS... AH... SO, 657 00:37:20,121 --> 00:37:22,087 {\an1}IN MY MIND, THERE'S NO QUESTION 658 00:37:22,121 --> 00:37:23,821 {\an1}THAT SHE BLEW HIS HEAD OFF. 659 00:37:23,854 --> 00:37:25,887 {\an1}I HAVE NO DOUBT ABOUT THAT. 660 00:37:29,221 --> 00:37:31,387 {\an1}NARRATOR: THE SECOND OF HIS AFRICAN SHORT STORIES, 661 00:37:31,421 --> 00:37:35,354 {\an1}PUBLISHED IN "ESQUIRE," WAS A MASTERPIECE. 662 00:37:35,387 --> 00:37:38,221 IN "THE SNOWS OF KILIMANJARO," THE ROLES OF 663 00:37:38,254 --> 00:37:41,121 {\an1}HUSBAND AND WIFE ARE REVERSED. 664 00:37:42,554 --> 00:37:46,721 {\an1}THE PROTAGONIST IS HARRY WALDEN, A WRITER ON SAFARI, 665 00:37:46,754 --> 00:37:50,354 {\an1}DYING OF GANGRENE IN HIS TENT. 666 00:37:50,387 --> 00:37:52,787 {\an1}AS HE DRIFTS IN AND OUT OF CONSCIOUSNESS, 667 00:37:52,821 --> 00:37:55,121 {\an1}HE TALKS WITH HIS WEALTHY WIFE, 668 00:37:55,154 --> 00:37:58,321 {\an1}WHOSE FORTUNE SUPPORTS THEM AND WHO LOVES HIM, 669 00:37:58,354 --> 00:38:01,854 {\an1}BUT WHOM HE SECRETLY NO LONGER LOVES. 670 00:38:01,887 --> 00:38:04,687 {\an1}HE MUSES ABOUT THE EVENTS HE HAS LIVED THROUGH 671 00:38:04,721 --> 00:38:07,421 {\an1}BUT FAILED TO WRITE ABOUT, 672 00:38:07,454 --> 00:38:11,587 {\an1}AND NOW, WILL NOT LIVE TO TURN INTO FICTION. 673 00:38:11,621 --> 00:38:14,454 {\an1}AT FIRST, HE BLAMES HIS WIFE. 674 00:38:16,087 --> 00:38:17,554 {\an1}MAN AS HEMINGWAY: NONSENSE. 675 00:38:17,587 --> 00:38:20,254 {\an1}HE HAD DESTROYED HIS TALENT HIMSELF. 676 00:38:20,287 --> 00:38:23,954 {\an1}WHY SHOULD HE BLAME THIS WOMAN BECAUSE SHE KEPT HIM WELL? 677 00:38:23,987 --> 00:38:27,154 {\an1}HE HAD DESTROYED HIS TALENT BY NOT USING IT, 678 00:38:27,187 --> 00:38:31,754 {\an1}BY BETRAYALS OF HIMSELF AND WHAT HE BELIEVED IN, 679 00:38:31,787 --> 00:38:33,621 {\an1}BY DRINKING SO MUCH THAT HE BLUNTED 680 00:38:33,654 --> 00:38:38,154 {\an1}THE EDGE OF HIS PERCEPTIONS, BY LAZINESS, 681 00:38:38,187 --> 00:38:40,887 {\an1}BY SLOTH, AND BY SNOBBERY. 682 00:38:42,521 --> 00:38:45,387 {\an1}HE HAD SEEN THE WORLD CHANGE. 683 00:38:45,421 --> 00:38:47,721 HE HAD BEEN IN IT AND HE HAD WATCHED IT 684 00:38:47,754 --> 00:38:50,621 {\an1}AND IT WAS HIS DUTY TO WRITE OF IT; 685 00:38:50,654 --> 00:38:52,454 {\an1}BUT NOW HE NEVER WOULD. 686 00:38:55,554 --> 00:38:57,854 {\an1}TIM O'BRIEN: "THE SNOWS OF KILIMANJARO" IS AMONG 687 00:38:57,887 --> 00:39:01,154 {\an1}MY FAVORITE STORIES OF HEMINGWAY, MAYBE MY FAVORITE. 688 00:39:01,187 --> 00:39:04,121 {\an1}IT DEALS WITH WHAT WE'RE ALL GOING TO HAVE TO DEAL WITH, 689 00:39:04,154 --> 00:39:07,421 {\an1}WHICH IS OUR OWN DEATHS. AND, THROUGHOUT IT, 690 00:39:07,454 --> 00:39:11,121 {\an1}HE'S REVIEWING HIS LIFE. 691 00:39:11,154 --> 00:39:14,121 {\an7}MUCH AS I NOW, IN MY OLD AGE, 692 00:39:14,154 --> 00:39:15,987 {\an8}MORE AND MORE AT TWO IN THE MORNING, 693 00:39:16,021 --> 00:39:18,121 {\an7}REVIEW MY OWN LIFE. 694 00:39:18,154 --> 00:39:20,254 {\an1}SOMETIMES, FULL OF SELF-HATRED 695 00:39:20,287 --> 00:39:22,487 {\an1}AND SOMETIMES, FULL OF JOY. 696 00:39:24,187 --> 00:39:28,854 {\an1}MOST OFTEN, FILLED WITH DOUBT OF, UH, 697 00:39:28,887 --> 00:39:31,987 {\an1}WHAT, WHAT COULD I HAVE DONE DIFFERENTLY? 698 00:39:32,021 --> 00:39:33,963 {\an1}[JOHNNY GANDELSMAN'S "LA DESPEDIDA MIX 1" PLAYING] 699 00:39:33,987 --> 00:39:35,987 MAN AS HEMINGWAY: JUST THEN, DEATH HAD COME 700 00:39:36,021 --> 00:39:38,687 {\an1}AND RESTED ITS HEAD ON THE FOOT OF THE COT 701 00:39:38,721 --> 00:39:40,521 {\an1}AND HE COULD SMELL ITS BREATH. 702 00:39:42,154 --> 00:39:44,021 {\an1}IT MOVED UP CLOSER TO HIM STILL 703 00:39:44,054 --> 00:39:46,721 {\an1}AND NOW HE COULD NOT SPEAK TO IT, 704 00:39:46,754 --> 00:39:51,054 {\an1}AND WHEN IT SAW HE COULD NOT SPEAK IT CAME A LITTLE CLOSER, 705 00:39:51,087 --> 00:39:54,254 {\an1}AND NOW HE TRIED TO SEND IT AWAY WITHOUT SPEAKING, 706 00:39:54,287 --> 00:39:59,654 {\an1}BUT IT MOVED IN ON HIM SO ITS WEIGHT WAS ALL UPON HIS CHEST, 707 00:39:59,687 --> 00:40:04,154 {\an1}AND WHILE IT CROUCHED THERE AND HE COULD NOT MOVE, OR SPEAK, 708 00:40:04,187 --> 00:40:08,487 {\an1}HE HEARD THE WOMAN SAY, "BWANA IS ASLEEP NOW. 709 00:40:08,521 --> 00:40:12,254 {\an1}TAKE THE COT UP VERY GENTLY AND CARRY IT INTO THE TENT." 710 00:40:13,954 --> 00:40:17,021 {\an1}HE COULD NOT SPEAK TO TELL HER TO MAKE IT GO AWAY 711 00:40:17,054 --> 00:40:21,687 {\an1}AND IT CROUCHED NOW, HEAVIER, SO HE COULD NOT BREATHE. 712 00:40:23,787 --> 00:40:26,787 AND THEN, WHILE THEY LIFTED THE COT, 713 00:40:26,821 --> 00:40:28,654 {\an1}SUDDENLY IT WAS ALL RIGHT 714 00:40:28,687 --> 00:40:31,121 {\an1}AND THE WEIGHT WENT FROM HIS CHEST. 715 00:40:35,154 --> 00:40:37,187 {\an1}[WOODY GUTHRIE'S "I AIN'T GOT NO HOME" PLAYING] 716 00:40:38,754 --> 00:40:40,354 {\an7}♪ MY BROTHERS AND MY SISTERS 717 00:40:40,387 --> 00:40:42,454 {\an7}♪ ARE STRANDED ON THIS ROAD 718 00:40:42,487 --> 00:40:47,687 {\an7}♪ A HOT AND DUSTY ROAD THAT A MILLION FEET HAVE TROD ♪ 719 00:40:47,721 --> 00:40:51,387 {\an1}♪ RICH MAN TOOK MY HOME AND DROVE ME FROM MY DOOR ♪ 720 00:40:51,421 --> 00:40:58,087 {\an1}♪ AND I AIN'T GOT NO HOME IN THIS WORLD ANYMORE ♪ 721 00:40:58,121 --> 00:41:00,687 {\an1}NARRATOR: THE DEPRESSION HAD CONTINUED TO DEEPEN 722 00:41:00,721 --> 00:41:03,321 {\an1}AND A NEW GENERATION OF SOCIALLY CONSCIOUS 723 00:41:03,354 --> 00:41:07,887 {\an1}LEFTIST WRITERS AND CRITICS NOW DENOUNCED HEMINGWAY. 724 00:41:09,187 --> 00:41:11,487 {\an1}RATHER THAN FRITTER AWAY HIS TIME WRITING ABOUT 725 00:41:11,521 --> 00:41:13,221 {\an1}DRUNKEN EXPATRIATES 726 00:41:13,254 --> 00:41:16,154 {\an1}AND DISILLUSIONED SURVIVORS OF THE GREAT WAR, 727 00:41:16,187 --> 00:41:18,654 ABOUT BULLFIGHTS AND BIG-GAME HUNTING 728 00:41:18,687 --> 00:41:20,587 {\an1}AND DEEP-SEA FISHING, 729 00:41:20,621 --> 00:41:23,354 {\an1}THEY INSISTED IT WAS HIS DUTY AS AN ARTIST 730 00:41:23,387 --> 00:41:26,987 {\an1}TO DECLARE HIS SOLIDARITY WITH THE WORKING CLASS. 731 00:41:28,321 --> 00:41:30,454 GRANVILLE HICKS, EDITOR OF THE COMMUNIST 732 00:41:30,487 --> 00:41:33,087 {\an1}"NEW MASSES" MAGAZINE," DECLARED, 733 00:41:33,121 --> 00:41:36,254 {\an1}"IN 6 YEARS, HEMINGWAY HAS NOT PRODUCED A BOOK 734 00:41:36,287 --> 00:41:39,354 {\an1}EVEN REMOTELY WORTHY OF HIS TALENTS." 735 00:41:40,621 --> 00:41:42,354 {\an1}HEMINGWAY WAS UNMOVED. 736 00:41:42,387 --> 00:41:45,787 {\an1}"THERE IS NO LEFT OR RIGHT IN WRITING," HE SAID. 737 00:41:45,821 --> 00:41:49,121 "THERE IS ONLY GOOD AND BAD WRITING." 738 00:41:50,621 --> 00:41:52,597 {\an1}MAN AS HEMINGWAY: EVERYONE TRIES TO FRIGHTEN YOU NOW 739 00:41:52,621 --> 00:41:56,087 {\an1}BY SAYING OR WRITING THAT IF ONE DOES NOT BECOME A COMMUNIST 740 00:41:56,121 --> 00:41:58,254 {\an1}OR HAVE A MARXIAN VIEWPOINT, 741 00:41:58,287 --> 00:42:01,721 {\an1}ONE WILL HAVE NO FRIENDS AND WILL BE ALONE. 742 00:42:01,754 --> 00:42:05,254 {\an1}THEY SEEM TO THINK THAT TO BE ALONE IS SOMETHING DREADFUL; 743 00:42:05,287 --> 00:42:08,587 {\an1}OR THAT TO NOT HAVE FRIENDS IS TO BE FEARED. 744 00:42:08,621 --> 00:42:10,921 {\an1}I WOULD RATHER HAVE ONE HONEST ENEMY 745 00:42:10,954 --> 00:42:13,954 {\an1}THAN MOST OF THE FRIENDS THAT I HAVE KNOWN. 746 00:42:13,987 --> 00:42:15,621 {\an1}I CANNOT BE A COMMUNIST NOW 747 00:42:15,654 --> 00:42:19,587 BECAUSE I BELIEVE IN ONLY ONE THING: LIBERTY. 748 00:42:19,621 --> 00:42:22,987 {\an1}FIRST I WOULD LOOK AFTER MYSELF AND DO MY WORK. 749 00:42:23,021 --> 00:42:25,421 THEN I WOULD CARE FOR MY FAMILY. 750 00:42:25,454 --> 00:42:27,887 {\an1}THEN I WOULD HELP MY NEIGHBOR. 751 00:42:27,921 --> 00:42:30,587 {\an1}BUT THE STATE I CARE NOTHING FOR. 752 00:42:30,621 --> 00:42:35,021 {\an1}ALL THE STATE HAS EVER MEANT TO ME IS UNJUST TAXATION. 753 00:42:35,054 --> 00:42:38,587 {\an1}I BELIEVE IN THE ABSOLUTE MINIMUM OF GOVERNMENT. 754 00:42:41,721 --> 00:42:45,454 {\an1}NARRATOR: ON LABOR DAY 1935, ONE OF THE MOST INTENSE 755 00:42:45,487 --> 00:42:49,454 {\an1}HURRICANES IN AMERICAN HISTORY HIT FLORIDA 756 00:42:49,487 --> 00:42:54,787 {\an1}WITH WINDS SAID TO HAVE GUSTED AT MORE THAN 185 MILES PER HOUR. 757 00:42:54,821 --> 00:42:59,987 {\an1}AN 18-FOOT STORM SURGE DROWNED ISLAND AFTER ISLAND. 758 00:43:03,354 --> 00:43:05,621 {\an1}MORE THAN 400 PEOPLE DIED... 759 00:43:05,654 --> 00:43:10,454 {\an1}AMONG THEM 259 HOMELESS VETERANS OF THE GREAT WAR 760 00:43:10,487 --> 00:43:13,621 {\an1}WHO HAD BEEN SENT SOUTH BY THE ROOSEVELT ADMINISTRATION 761 00:43:13,654 --> 00:43:17,487 {\an1}TO BUILD HIGHWAY BRIDGES TO BRING STILL MORE VISITORS 762 00:43:17,521 --> 00:43:19,421 {\an1}TO THE FLORIDA KEYS. 763 00:43:20,854 --> 00:43:22,630 {\an1}SOME OF THEM HAD BEEN DRINKING BUDDIES WITH WHOM 764 00:43:22,654 --> 00:43:27,354 {\an1}HEMINGWAY HAD SWAPPED WAR STORIES AT SLOPPY JOE'S. 765 00:43:27,387 --> 00:43:31,721 {\an1}TWO DAYS LATER, HE SAILED NORTH TO WHAT WAS LEFT OF THEIR CAMP 766 00:43:31,754 --> 00:43:36,754 {\an1}AND JOINED SOME 200 VOLUNTEERS GATHERING UP THE DEAD. 767 00:43:36,787 --> 00:43:38,721 {\an1}HE BROUGHT A CAMERA. 768 00:43:38,754 --> 00:43:40,587 {\an1}[CAMERA'S SHUTTER CLICKS] 769 00:43:40,621 --> 00:43:42,330 MAN AS HEMINGWAY: YOU COULD FIND THEM FACE DOWN 770 00:43:42,354 --> 00:43:45,687 {\an1}AND FACE UP IN THE MANGROVES. 771 00:43:45,721 --> 00:43:48,087 {\an7}THE BIGGEST BUNCH OF THE DEAD WERE IN THE TANGLED, 772 00:43:48,121 --> 00:43:50,587 {\an8}ALWAYS GREEN BUT NOW BROWN, MANGROVES 773 00:43:50,621 --> 00:43:53,287 {\an7}BEHIND THE TANK CARS AND THE WATER TOWERS. 774 00:43:54,454 --> 00:43:58,187 {\an7}[CAMERA'S SHUTTER CLICKS] THEY HUNG ON THERE, IN SHELTER, 775 00:43:58,221 --> 00:44:02,321 {\an7}UNTIL THE WIND AND THE RISING WATER CARRIED THEM AWAY. 776 00:44:02,354 --> 00:44:04,754 {\an1}[CAMERA'S SHUTTER CLICKS] THEY DIDN'T ALL LET GO AT ONCE 777 00:44:04,787 --> 00:44:07,954 {\an1}BUT ONLY WHEN THEY COULD HOLD ON NO LONGER. 778 00:44:07,987 --> 00:44:10,254 {\an1}[CAMERA'S SHUTTER CLICKS] THEN FURTHER ON, YOU FOUND THEM 779 00:44:10,287 --> 00:44:13,721 {\an1}HIGH IN THE TREES WHERE THE WATER HAD SWEPT THEM. 780 00:44:13,754 --> 00:44:17,887 {\an7}[CAMERA'S SHUTTER CLICKS] YOU FOUND THEM EVERYWHERE AND IN THE SUN, 781 00:44:17,921 --> 00:44:19,387 {\an1}ALL OF THEM WERE BEGINNING TO BE 782 00:44:19,421 --> 00:44:22,087 TOO BIG FOR THEIR BLUE JEANS AND JACKETS 783 00:44:22,121 --> 00:44:24,887 {\an1}THAT THEY COULD NEVER FILL WHEN THEY WERE 784 00:44:24,921 --> 00:44:26,754 {\an1}ON THE BUM AND HUNGRY. 785 00:44:29,421 --> 00:44:32,054 {\an1}NARRATOR: HEMINGWAY WAS SO ANGERED AT WHAT HE'D SEEN 786 00:44:32,087 --> 00:44:33,787 {\an1}THAT DESPITE THE SCORN 787 00:44:33,821 --> 00:44:36,154 {\an1}"NEW MASSES" HAD SHOWN TOWARD HIM, 788 00:44:36,187 --> 00:44:38,554 {\an1}WHEN ITS EDITOR ASKED HIM TO WRITE ABOUT IT, 789 00:44:38,587 --> 00:44:40,887 {\an1}HE AGREED TO DO IT. 790 00:44:40,921 --> 00:44:44,821 {\an1}HE HELD THE ROOSEVELT ADMINISTRATION RESPONSIBLE. 791 00:44:46,454 --> 00:44:49,121 {\an1}MAN AS HEMINGWAY: I WOULD LIKE TO MAKE WHOEVER SENT THEM THERE 792 00:44:49,154 --> 00:44:51,887 {\an1}CARRY JUST ONE OUT THROUGH THE MANGROVES, 793 00:44:51,921 --> 00:44:55,754 {\an1}OR TURN ONE OVER THAT LAY IN THE SUN ALONG THE FILL, 794 00:44:55,787 --> 00:44:58,954 OR TIE 5 TOGETHER SO THEY WON'T FLOAT OUT, 795 00:44:58,987 --> 00:45:00,554 {\an1}OR SMELL THAT SMELL YOU THOUGHT 796 00:45:00,587 --> 00:45:03,787 {\an1}YOU'D NEVER SMELL AGAIN, WITH LUCK. 797 00:45:05,587 --> 00:45:07,921 {\an1}NARRATOR: LEFTIST WRITERS NOW PRAISED HEMINGWAY'S 798 00:45:07,954 --> 00:45:11,087 NEW-FOUND EMPATHY FOR THE PROLETARIAT: 799 00:45:11,121 --> 00:45:14,821 {\an1}LINCOLN STEFFENS CONGRATULATED HIM FOR AT LAST CHOOSING 800 00:45:14,854 --> 00:45:19,187 {\an1}TO WRITE FOR "THE REAL PEOPLE OF THE REAL PUBLICATIONS." 801 00:45:19,221 --> 00:45:22,141 {\an1}[DUKE ELLINGTON & BUBBER MILEY'S "THE NEW EAST ST. LOUIS TOODLE-O" PLAYING] 802 00:45:47,354 --> 00:45:48,897 MAN AS HEMINGWAY: SOME MADE THE LONG DROP 803 00:45:48,921 --> 00:45:51,054 {\an1}FROM THE APARTMENT OR THE OFFICE WINDOW; 804 00:45:52,521 --> 00:45:54,987 {\an1}SOME TOOK IT QUIETLY IN TWO-CAR GARAGES 805 00:45:55,021 --> 00:45:56,221 {\an1}WITH THE MOTOR RUNNING; 806 00:45:58,821 --> 00:46:00,021 {\an7}SOME USED THE NATIVE TRADITION 807 00:46:00,054 --> 00:46:03,354 {\an7}OF THE COLT OR SMITH AND WESSON; 808 00:46:03,387 --> 00:46:07,121 {\an1}THOSE WELL-CONSTRUCTED IMPLEMENTS THAT END INSOMNIA, 809 00:46:07,154 --> 00:46:12,687 {\an1}TERMINATE REMORSE, CURE CANCER, AVOID BANKRUPTCY, 810 00:46:12,721 --> 00:46:15,587 {\an1}AND BLAST AN EXIT FROM INTOLERABLE POSITIONS 811 00:46:15,621 --> 00:46:17,454 {\an1}BY THE PRESSURE OF A FINGER; 812 00:46:19,921 --> 00:46:22,187 THOSE ADMIRABLE AMERICAN INSTRUMENTS 813 00:46:22,221 --> 00:46:27,054 {\an1}SO EASILY CARRIED, SO SURE OF EFFECT, 814 00:46:27,087 --> 00:46:29,587 {\an1}SO WELL DESIGNED TO END THE AMERICAN DREAM 815 00:46:29,621 --> 00:46:32,887 {\an1}WHEN IT BECOMES A NIGHTMARE, 816 00:46:32,921 --> 00:46:36,521 {\an1}THEIR ONLY DRAWBACK THE MESS THEY LEAVE 817 00:46:36,554 --> 00:46:38,621 {\an1}FOR RELATIVES TO CLEAN UP. 818 00:46:41,621 --> 00:46:43,763 {\an1}NARRATOR: FEELING THE PRESSURE TO COME UP WITH SOMETHING 819 00:46:43,787 --> 00:46:48,054 {\an1}AFTER THE COMMERCIAL FAILURE OF HIS NONFICTION, 820 00:46:48,087 --> 00:46:50,254 {\an1}HEMINGWAY TRIED TO COBBLE TOGETHER A NOVEL 821 00:46:50,287 --> 00:46:54,087 {\an1}OUT OF TWO SHORT STORIES AND SOME NEW MATERIAL. 822 00:46:54,121 --> 00:46:56,854 THE RESULT WAS A TANGLED MELODRAMA ABOUT 823 00:46:56,887 --> 00:46:58,954 {\an1}DOWN-ON-THEIR-LUCK AMERICANS... 824 00:46:58,987 --> 00:47:01,521 HIS VERSION OF A PROLETARIAN NOVEL, 825 00:47:01,554 --> 00:47:04,821 {\an1}CALLED "TO HAVE AND HAVE NOT." 826 00:47:06,554 --> 00:47:08,287 {\an1}THE CRITICS DIDN'T LIKE IT. 827 00:47:08,321 --> 00:47:10,154 {\an1}AND IN THE END, HEMINGWAY 828 00:47:10,187 --> 00:47:12,187 {\an1}DIDN'T MUCH LIKE IT EITHER. 829 00:47:13,487 --> 00:47:15,521 {\an8}[LEONARDO PADURA SPEAKING SPANISH] 830 00:47:43,954 --> 00:47:45,363 {\an1}[JOHNNY GANDELSMAN'S "THE GARDEN OF EDEN MIX 3 BASS STEM" PLAYING] 831 00:47:45,387 --> 00:47:47,421 {\an1}[PEOPLE CHANTING INDISTINCTLY] 832 00:47:50,521 --> 00:47:52,554 {\an1}[ADOLF HITLER SPEAKING GERMAN] 833 00:48:00,787 --> 00:48:04,221 {\an1}NARRATOR: ERNEST HEMINGWAY UNDERSTOOD THE DANGERS OF FASCISM 834 00:48:04,254 --> 00:48:07,087 {\an1}AND BELIEVED ADOLF HITLER WOULD ONE DAY LAUNCH 835 00:48:07,121 --> 00:48:10,054 {\an1}A EUROPEAN WAR OF CONQUEST. 836 00:48:10,087 --> 00:48:12,687 {\an1}BUT, AS A DISENCHANTED SURVIVOR OF THE WAR 837 00:48:12,721 --> 00:48:15,154 {\an1}THAT HAD BEEN SUPPOSED TO END ALL WARS, 838 00:48:15,187 --> 00:48:17,187 {\an1}HE TOLD "ESQUIRE" READERS, 839 00:48:17,221 --> 00:48:18,921 {\an1}AMERICANS SHOULD TAKE NO PART IN IT. 840 00:48:21,587 --> 00:48:24,354 {\an1}"OF THE HELL-BROTH THAT IS BREWING IN EUROPE 841 00:48:24,387 --> 00:48:26,787 WE HAVE NO NEED TO DRINK," HE WROTE. 842 00:48:26,821 --> 00:48:30,121 {\an1}"WE WERE FOOLS TO BE SUCKED IN ONCE ON A EUROPEAN WAR 843 00:48:30,154 --> 00:48:33,954 {\an1}AND WE SHOULD NEVER BE SUCKED IN AGAIN." 844 00:48:33,987 --> 00:48:36,021 {\an1}[EXPLOSIONS AND GUNFIRE] 845 00:48:39,987 --> 00:48:42,354 {\an1}BUT WHAT WAS HAPPENING IN HIS BELOVED SPAIN 846 00:48:42,387 --> 00:48:44,821 WAS BEGINNING TO CHANGE HIS MIND. 847 00:48:46,254 --> 00:48:50,054 {\an1}IT WAS NOW BEING TORN APART BY A CIVIL WAR. 848 00:48:52,721 --> 00:48:57,154 {\an1}EARLY IN 1936, REACTIONARY ELEMENTS OF THE ARMY, 849 00:48:57,187 --> 00:49:01,621 {\an1}EVENTUALLY LED BY A FASCIST GENERAL NAMED FRANCISCO FRANCO 850 00:49:01,654 --> 00:49:04,254 AND SUPPORTED BY WEALTHY INDUSTRIALISTS, 851 00:49:04,287 --> 00:49:07,321 GREAT LANDOWNERS, AND THE CATHOLIC CHURCH, 852 00:49:07,354 --> 00:49:09,921 {\an1}JOINED FORCES TO TRY TO OVERTHROW 853 00:49:09,954 --> 00:49:13,454 THE DULY ELECTED SOCIALIST GOVERNMENT. 854 00:49:15,287 --> 00:49:17,587 HITLER PROVIDED FRANCO AND HIS REBELS 855 00:49:17,621 --> 00:49:19,521 {\an1}WITH BOMBERS AND FIGHTER PLANES 856 00:49:19,554 --> 00:49:23,021 {\an1}AND GERMAN PILOTS TO FLY THEM. 857 00:49:23,054 --> 00:49:26,354 {\an1}THEIR GOAL WAS TO TERRORIZE THE CIVILIAN POPULATION. 858 00:49:27,787 --> 00:49:30,287 {\an1}THE ITALIAN DICTATOR, BENITO MUSSOLINI, 859 00:49:30,321 --> 00:49:35,521 DISPATCHED TANKS AND NEARLY 80,000 TROOPS. 860 00:49:35,554 --> 00:49:40,187 {\an1}WITHIN WEEKS, FRANCO'S FORCES HAD SEIZED 1/3 OF THE COUNTRY 861 00:49:40,221 --> 00:49:44,854 {\an1}FROM THOSE FAITHFUL TO THE GOVERNMENT... THE LOYALISTS. 862 00:49:46,321 --> 00:49:51,087 {\an1}THE LOYALISTS' ONLY ALLY WAS SOVIET PREMIER JOSEF STALIN, 863 00:49:51,121 --> 00:49:55,821 {\an1}WHO WAS EAGER TO BE SEEN AS THE LEADER OF THE EUROPEAN LEFT. 864 00:49:55,854 --> 00:49:58,787 {\an1}HE CALLED UPON COMMUNISTS FROM AROUND THE WORLD 865 00:49:58,821 --> 00:50:01,887 {\an1}TO RALLY VOLUNTEER BRIGADES. 866 00:50:01,921 --> 00:50:05,887 {\an1}BETWEEN 30,000 AND 40,000 MEN FROM MORE THAN 50 COUNTRIES 867 00:50:05,921 --> 00:50:10,954 {\an1}WOULD ANSWER THE CALL... INCLUDING SOME 2,800 AMERICANS 868 00:50:10,987 --> 00:50:15,154 {\an1}WHO CALLED THEIR OUTFIT THE ABRAHAM LINCOLN BRIGADE. 869 00:50:17,954 --> 00:50:21,021 {\an1}HEMINGWAY WAS CERTAIN THAT SPAIN WAS THE PLACE 870 00:50:21,054 --> 00:50:23,987 {\an1}WHERE FASCISM HAD TO BE STOPPED. 871 00:50:26,554 --> 00:50:28,854 {\an1}VAILL: HE SAID TO A FRIEND IN KEY WEST, 872 00:50:28,887 --> 00:50:31,087 {\an1}"I'VE GOT THIS GREAT HOUSE, I'VE GOT THIS BOAT, 873 00:50:31,121 --> 00:50:33,521 {\an1}"BUT THEY ALL REALLY COME FROM PAULINE. 874 00:50:33,554 --> 00:50:37,054 "EXCEPT FOR THAT, I REALLY DON'T HAVE ANYTHING." 875 00:50:37,087 --> 00:50:39,854 {\an7}SO, IN ORDER TO HAVE SOMETHING NEW TO WRITE, 876 00:50:39,887 --> 00:50:41,454 {\an8}HE HAD TO HAVE SOMETHING NEW TO LIVE. 877 00:50:43,254 --> 00:50:44,687 {\an1}AT THIS JUNCTION IN HIS LIFE, 878 00:50:44,721 --> 00:50:45,797 {\an1}HEMINGWAY IS LOOKING DESPERATELY 879 00:50:45,821 --> 00:50:47,587 {\an1}FOR THIS FRESH START. 880 00:50:47,621 --> 00:50:51,454 {\an1}AND HE THINKS HE WILL FIND IT IN SPAIN. 881 00:50:53,687 --> 00:50:55,821 {\an1}NARRATOR: "FOR A LONG TIME," HEMINGWAY WROTE, 882 00:50:55,854 --> 00:51:00,887 {\an1}"ME AND MY CONSCIENCE BOTH HAVE KNOWN I HAVE TO GO TO SPAIN." 883 00:51:05,521 --> 00:51:08,554 {\an1}WOMAN AS MARTHA GELLHORN: JANUARY 8, 1937. 884 00:51:08,587 --> 00:51:10,054 {\an1}DEAR MRS. ROOSEVELT, 885 00:51:10,087 --> 00:51:11,787 I'M IN KEY WEST. 886 00:51:13,254 --> 00:51:16,054 {\an1}TO DATE IT'S THE BEST THING I'VE FOUND IN AMERICA. 887 00:51:16,087 --> 00:51:21,021 {\an1}IT'S HOT AND FALLING TO PIECES AND PEOPLE SEEM HAPPY. 888 00:51:22,721 --> 00:51:25,921 {\an1}I SEE HEMINGWAY HERE, WHO KNOWS MORE ABOUT 889 00:51:25,954 --> 00:51:28,854 {\an1}WRITING DIALOGUE, I THINK, THAN ANYONE WRITING IN ENGLISH. 890 00:51:30,287 --> 00:51:34,687 HE'S AN ODD BIRD, VERY LOVABLE AND FULL OF FIRE 891 00:51:34,721 --> 00:51:37,321 {\an1}AND A MARVELOUS STORY TELLER. 892 00:51:37,354 --> 00:51:39,654 {\an1}IN A WRITER THIS IS IMAGINATION, 893 00:51:39,687 --> 00:51:41,954 {\an1}IN ANYONE ELSE IT'S LYING. 894 00:51:41,987 --> 00:51:44,354 {\an1}THAT'S WHERE GENIUS COMES IN. 895 00:51:44,387 --> 00:51:46,507 {\an1}[GEORGE AND IRA GERSHWIN'S "OH, LADY BE GOOD" PLAYING] 896 00:51:48,954 --> 00:51:51,154 {\an1}NARRATOR: WHEN THE WRITER MARTHA GELLHORN, 897 00:51:51,187 --> 00:51:53,887 {\an1}A FAMILY FRIEND OF ELEANOR ROOSEVELT, 898 00:51:53,921 --> 00:51:55,621 {\an1}INTRODUCED HERSELF TO ERNEST HEMINGWAY 899 00:51:55,654 --> 00:52:00,754 {\an1}AT THE BAR IN SLOPPY JOE'S IN DECEMBER OF 1936, 900 00:52:00,787 --> 00:52:04,954 {\an1}SHE WAS 28 YEARS OLD, 9 YEARS YOUNGER THAN HE. 901 00:52:06,387 --> 00:52:08,563 {\an7}VERNA KALE: SHE HAS LONG LEGS. SHE LOOKS VERY BEAUTIFUL. 902 00:52:08,587 --> 00:52:13,254 {\an8}AND SHE, TOO, HAS A CHARISMATIC PERSONALITY. 903 00:52:13,287 --> 00:52:15,421 {\an1}HE WAS INTERESTED IN PEOPLE WHO WERE INTERESTED IN HIM 904 00:52:15,454 --> 00:52:19,021 {\an1}AND THEY JUST HIT IT OFF. 905 00:52:19,054 --> 00:52:22,687 {\an1}DEARBORN: MARTHA WAS A REALLY TOUGH COOKIE. 906 00:52:22,721 --> 00:52:25,321 {\an7}AND MARTHA, UM, WAS A VERY GOOD WRITER 907 00:52:25,354 --> 00:52:27,021 {\an7}AND SHE KNEW, UM, SHE HAD 908 00:52:27,054 --> 00:52:29,321 {\an7}VERY GOOD CONNECTIONS AND SO FORTH. 909 00:52:29,354 --> 00:52:31,887 {\an1}AND SHE WENT TO SLOPPY JOE'S, 910 00:52:31,921 --> 00:52:34,721 {\an1}WHICH SHE KNOWS THAT HEMINGWAY HANGS OUT AT. 911 00:52:34,754 --> 00:52:36,587 {\an1}IT'S A DISGUSTING BAR. 912 00:52:36,621 --> 00:52:38,863 {\an1}YOU WOULDN'T TAKE YOUR MOTHER AND YOUR BROTHER [LAUGHS] THERE, 913 00:52:38,887 --> 00:52:40,854 BUT SHE DOES. 914 00:52:40,887 --> 00:52:43,354 AND, MEANWHILE, SHE'S WEARING A BLACK DRESS. 915 00:52:43,387 --> 00:52:45,554 SHE'S A BLOND. 916 00:52:45,587 --> 00:52:48,754 AND THE MARRIAGE DIDN'T HAVE A CHANCE. 917 00:52:50,454 --> 00:52:51,997 {\an1}NARRATOR: GELLHORN HAD ADMIRED HEMINGWAY 918 00:52:52,021 --> 00:52:55,087 {\an1}SINCE HER COLLEGE DAYS AT BRYN MAWR, 919 00:52:55,121 --> 00:52:56,554 {\an1}WHEN SHE'D HUNG HIS PHOTOGRAPH 920 00:52:56,587 --> 00:53:00,054 ON THE WALL OF HER DORMITORY ROOM. 921 00:53:00,087 --> 00:53:03,354 {\an1}SHE'D PUBLISHED A BOOK OF SHORT STORIES ABOUT THE POOR 922 00:53:03,387 --> 00:53:07,354 {\an1}BASED ON INTERVIEWS SHE'D DONE FOR A NEW DEAL AGENCY, 923 00:53:07,387 --> 00:53:09,587 AND A NOVEL. 924 00:53:09,621 --> 00:53:13,187 {\an1}SHE HAD HAD AT LEAST TWO MARRIED LOVERS. 925 00:53:13,221 --> 00:53:14,697 {\an1}VAILL: MARTHA GELLHORN HAD WRITTEN A NOVEL 926 00:53:14,721 --> 00:53:16,587 WHICH HAD BEEN QUITE WELL RECEIVED... 927 00:53:16,621 --> 00:53:19,021 {\an1}AH... ABOUT YOUNG WOMEN COMING OF AGE 928 00:53:19,054 --> 00:53:21,921 SEXUALLY AS WELL AS PROFESSIONALLY. 929 00:53:21,954 --> 00:53:24,621 ALL OF THE REVIEWERS ACKNOWLEDGED 930 00:53:24,654 --> 00:53:28,787 {\an1}THAT SHE HAD A DEBT, SORT OF A STYLISTIC DEBT TO HEMINGWAY. 931 00:53:28,821 --> 00:53:34,054 {\an1}SO, SHE HAD ALREADY A KIND OF LITERARY CRUSH ON HIM. 932 00:53:35,521 --> 00:53:38,387 {\an1}NARRATOR: GELLHORN SPENT TWO WEEKS IN KEY WEST, 933 00:53:38,421 --> 00:53:41,821 {\an1}MUCH OF THAT TIME IN THE HEMINGWAYS' COMPANY. 934 00:53:44,121 --> 00:53:46,821 {\an1}VAILL: SHE BECAME, AS SHE LATER PUT IT, 935 00:53:46,854 --> 00:53:49,154 {\an1}A FIXTURE LIKE A KUDU HEAD 936 00:53:49,187 --> 00:53:53,154 ON THE WALLS OF THE HEMINGWAY HOUSE. 937 00:53:53,187 --> 00:53:54,787 {\an1}SHE HUNG AROUND A WHOLE LOT. 938 00:53:54,821 --> 00:53:58,787 {\an1}AND THE TWO OF THEM HAD DEEP TALKS ABOUT FICTION 939 00:53:58,821 --> 00:54:02,254 AND HOW YOU WROTE AND ABOUT SPAIN, 940 00:54:02,287 --> 00:54:04,387 {\an1}WHICH SHE SEEMED TO KNOW A GOOD DEAL ABOUT 941 00:54:04,421 --> 00:54:06,854 AND WHICH SHE WAS VERY PASSIONATE ABOUT. 942 00:54:06,887 --> 00:54:10,554 {\an1}AND THEY WERE IMMEDIATELY ATTRACTED TO EACH OTHER 943 00:54:10,587 --> 00:54:15,921 {\an1}AND HATCHED A PLOT TO GO OFF AND COVER THE WAR TOGETHER. 944 00:54:15,954 --> 00:54:18,254 {\an1}NARRATOR: HEMINGWAY HAD ALREADY SIGNED UP AS A REPORTER 945 00:54:18,287 --> 00:54:20,987 {\an1}FOR THE NORTH AMERICAN NEWSPAPER ALLIANCE, 946 00:54:21,021 --> 00:54:24,254 {\an1}SERVING 60 U.S. PAPERS. 947 00:54:24,287 --> 00:54:28,954 {\an1}HE WAS TO BE PAID $1,000 FOR EVERY FEATURE STORY WRITTEN 948 00:54:28,987 --> 00:54:32,621 AND $500 FOR EACH CABLED DISPATCH... 949 00:54:32,654 --> 00:54:34,887 MORE THAN ANY FOREIGN CORRESPONDENT 950 00:54:34,921 --> 00:54:37,654 {\an1}HAD EVER BEEN PAID BEFORE. 951 00:54:37,687 --> 00:54:40,021 {\an1}PAULINE OPPOSED HIS GOING. 952 00:54:40,054 --> 00:54:44,387 {\an1}IT WAS SURE TO BE DANGEROUS; SHE WAS AFRAID SHE'D LOSE HIM. 953 00:54:44,421 --> 00:54:48,021 {\an1}HE WAS SORRY, HE SAID, "BUT YOU CAN'T PRESERVE YOUR HAPPINESS 954 00:54:48,054 --> 00:54:51,954 {\an1}BY PUTTING IT AWAY IN MOTHBALLS." 955 00:54:51,987 --> 00:54:56,054 {\an1}HE WAS MORE CANDID WITH A FRIEND IN KEY WEST THAT NOVEMBER: 956 00:54:56,087 --> 00:54:58,421 "NOTHING'S REALLY HAPPENING TO ME HERE. 957 00:54:58,454 --> 00:55:01,787 {\an1}"I'VE GOT TO GET OUT. IN SPAIN MAYBE IT'S 958 00:55:01,821 --> 00:55:04,721 {\an1}THE BIG PARADE STARTING AGAIN." 959 00:55:06,254 --> 00:55:08,754 {\an1}VAILL: THEY DID NOT GO ON THE SAME BOAT. 960 00:55:08,787 --> 00:55:11,821 {\an1}THEY PRETENDED NOT TO KNOW EACH OTHER. 961 00:55:11,854 --> 00:55:15,321 {\an1}THEY TRAVELED UNDER SEPARATE ITINERARIES, 962 00:55:15,354 --> 00:55:18,887 {\an1}BUT THEY BOTH GOT TO MADRID AND COMMENCED AN AFFAIR 963 00:55:18,921 --> 00:55:21,254 {\an1}THAT WENT ON FOR THE ENTIRE 3 YEARS 964 00:55:21,287 --> 00:55:23,087 {\an1}OF THE SPANISH CIVIL WAR. 965 00:55:23,121 --> 00:55:25,721 {\an1}[JOHNNY GANDELSMAN'S "THE GARDEN OF EDEN MIX 3" PLAYING] 966 00:55:25,754 --> 00:55:27,887 {\an1}NARRATOR: WHEN THEY MET UP IN MADRID, 967 00:55:27,921 --> 00:55:29,454 {\an1}THE CITY HAD BEEN UNDER SIEGE 968 00:55:29,487 --> 00:55:33,621 {\an1}BY FRANCO'S FASCIST FORCES FOR 6 MONTHS. 969 00:55:35,754 --> 00:55:38,854 MAN AS HEMINGWAY: IN THE MORNING, BEFORE YOUR CALL COMES FROM THE DESK, 970 00:55:38,887 --> 00:55:43,854 {\an1}THE ROARING BURST OF A HIGH EXPLOSIVE SHELL WAKES YOU 971 00:55:43,887 --> 00:55:46,621 {\an1}AND YOU GO TO THE WINDOW AND LOOK OUT TO SEE A MAN, 972 00:55:46,654 --> 00:55:50,054 HIS HEAD DOWN, HIS COAT COLLAR UP, 973 00:55:50,087 --> 00:55:53,521 {\an1}SPRINTING DESPERATELY ACROSS THE PAVED SQUARE. 974 00:55:53,554 --> 00:55:55,787 {\an1}THERE IS THE ACRID SMELL OF HIGH EXPLOSIVE 975 00:55:55,821 --> 00:55:58,754 {\an1}YOU HOPED YOU'D NEVER SMELL AGAIN, 976 00:55:58,787 --> 00:56:01,487 {\an1}AND, IN A BATHROBE AND BEDROOM SLIPPERS, 977 00:56:01,521 --> 00:56:03,721 {\an1}YOU HURRY DOWN THE MARBLE STAIRS AND ALMOST INTO 978 00:56:03,754 --> 00:56:07,221 {\an1}A MIDDLE-AGED WOMAN, WOUNDED IN THE ABDOMEN, 979 00:56:07,254 --> 00:56:09,121 {\an1}WHO IS BEING HELPED INTO THE HOTEL ENTRANCE 980 00:56:09,154 --> 00:56:11,754 BY TWO MEN IN BLUE WORKMEN'S SMOCKS. 981 00:56:13,887 --> 00:56:15,163 {\an1}SHE HAS HER TWO HANDS CROSSED BELOW 982 00:56:15,187 --> 00:56:18,487 {\an1}HER BIG, OLD-STYLE SPANISH BOSOM 983 00:56:18,521 --> 00:56:20,154 {\an1}AND FROM BETWEEN HER FINGERS 984 00:56:20,187 --> 00:56:22,854 {\an1}THE BLOOD IS SPURTING IN A THIN STREAM. 985 00:56:25,054 --> 00:56:29,521 {\an1}ON THE CORNER, 20 YARDS AWAY, IS A HEAP OF RUBBLE, 986 00:56:29,554 --> 00:56:32,687 SMASHED CEMENT AND THROWN-UP DIRT, 987 00:56:32,721 --> 00:56:37,021 {\an1}A SINGLE DEAD MAN, HIS TORN CLOTHES DUSTY, 988 00:56:37,054 --> 00:56:39,087 AND A GREAT HOLE IN THE SIDEWALK FROM WHICH 989 00:56:39,121 --> 00:56:42,654 {\an1}THE GAS FROM A BROKEN MAIN IS RISING, 990 00:56:42,687 --> 00:56:46,921 {\an1}LOOKING LIKE A HEAT MIRAGE IN THE COLD MORNING AIR. 991 00:56:50,954 --> 00:56:52,854 {\an1}NARRATOR: THE NEW LOVERS OCCUPIED A SUITE 992 00:56:52,887 --> 00:56:56,054 {\an1}ON THE THIRD FLOOR OF THE HOTEL FLORIDA. 993 00:56:57,854 --> 00:57:01,154 {\an1}THE HOTEL WAS SOMETIMES HIT BY ENEMY SHELLS 994 00:57:01,187 --> 00:57:06,121 {\an1}INTENDED FOR A NEARBY LOYALIST COMMUNICATIONS CENTER, 995 00:57:06,154 --> 00:57:08,621 {\an1}BUT IT REMAINED HEADQUARTERS FOR A HOST OF 996 00:57:08,654 --> 00:57:12,721 {\an1}CORRESPONDENTS AND CELEBRITIES EAGER FOR A FIRST-HAND LOOK 997 00:57:12,754 --> 00:57:14,687 AT THE FIGHTING... 998 00:57:14,721 --> 00:57:18,687 ANDRE MALRAUX AND ANTOINE DE SAINT-EXUPERY, 999 00:57:18,721 --> 00:57:21,921 {\an1}HERBERT L. MATHEWS OF "THE NEW YORK TIMES," 1000 00:57:21,954 --> 00:57:24,854 {\an1}THE PHOTOGRAPHER ROBERT CAPA, 1001 00:57:24,887 --> 00:57:29,254 {\an1}THE WRITERS LANGSTON HUGHES AND JOHN DOS PASSOS, 1002 00:57:29,287 --> 00:57:32,121 {\an1}AND THE MOVIE STAR ERROL FLYNN. 1003 00:57:33,787 --> 00:57:36,054 {\an1}HEMINGWAY... "CRACKLING WITH GENEROSITY," 1004 00:57:36,087 --> 00:57:39,354 {\an1}ONE REPORTER REMEMBERED, AND "BURSTING WITH VIGOR"... 1005 00:57:39,387 --> 00:57:41,887 {\an1}WAS AT THE CENTER OF THINGS. 1006 00:57:41,921 --> 00:57:45,821 {\an1}A HIGH-SPIRITED CROWD GATHERED AROUND HIM EACH EVENING... 1007 00:57:45,854 --> 00:57:50,254 {\an1}OFTEN WEARING WINTER COATS SINCE THE HOTEL HAD NO HEAT... 1008 00:57:50,287 --> 00:57:53,554 {\an1}TO DINE ON BEER AND WHISKEY, CANNED HAM, 1009 00:57:53,587 --> 00:57:56,221 {\an1}AND PATEÉ HE IMPORTED FROM FRANCE... 1010 00:57:56,254 --> 00:57:59,387 {\an1}SOMETIMES SUPPLEMENTED WITH PARTRIDGES HE HAD SHOT 1011 00:57:59,421 --> 00:58:02,254 {\an1}IN THE FIELDS BEYOND THE CITY THAT MORNING 1012 00:58:02,287 --> 00:58:06,754 {\an1}AND HAD COOKED UP ON A HOT PLATE FOR HIMSELF AND HIS GUESTS. 1013 00:58:08,554 --> 00:58:12,187 {\an1}EDNA O'BRIEN: HE DID IDENTIFY, MOST UTTERLY, 1014 00:58:12,221 --> 00:58:14,921 {\an1}WITH EXTREME SITUATIONS. 1015 00:58:17,621 --> 00:58:21,687 {\an1}IT'S LIKE IN "KING LEAR," IT'S WANTING TO KNOW THE WORST 1016 00:58:21,721 --> 00:58:23,754 {\an1}AND TO KNOW IF ONE CAN BEAR IT. 1017 00:58:25,021 --> 00:58:28,587 {\an8}IT'S A TEST. AND IT'S ALSO A TERROR. 1018 00:58:30,287 --> 00:58:33,487 {\an1}AND THEY, THEY COME TOGETHER IN ONE. 1019 00:58:35,121 --> 00:58:37,054 {\an1}NARRATOR: MARTHA GELLHORN, REPORTING ON THE WAR 1020 00:58:37,087 --> 00:58:38,287 FOR "COLLIER'S," 1021 00:58:38,321 --> 00:58:39,821 {\an1}WAS INTRODUCED BY ERNEST 1022 00:58:39,854 --> 00:58:42,621 {\an1}TO EVERYONE AS HIS GIRLFRIEND. 1023 00:58:42,654 --> 00:58:44,887 {\an1}SHE WORE SHORT SKIRTS, AND OFTEN 1024 00:58:44,921 --> 00:58:47,721 {\an1}"SAT ON THE TABLE," ONE WOMAN RECALLED, 1025 00:58:47,754 --> 00:58:52,554 {\an1}"SWINGING HER LONG, SLIM LEGS IN A PROVOCATIVE MANNER." 1026 00:58:52,587 --> 00:58:54,654 {\an1}BUT SHE COVERED THE FIGHTING EVERY BIT AS 1027 00:58:54,687 --> 00:58:57,321 {\an1}FEARLESSLY AS HEMINGWAY DID. 1028 00:58:59,154 --> 00:59:00,987 {\an1}GELLHORN: WE'D EITHER HEAR WITH OUR EARS 1029 00:59:01,021 --> 00:59:03,387 {\an1}THAT SOMETHING WAS GOING ON, OR WE'D HEAR BY RUMOR 1030 00:59:03,421 --> 00:59:05,821 {\an1}THAT THERE WAS A PUSH OR A BATTLE OR SOMETHING, 1031 00:59:05,854 --> 00:59:08,054 {\an1}THEN WE'D JUST GO OFF TO IT. 1032 00:59:08,087 --> 00:59:12,887 {\an7}IT WAS A VERY SMALL, VERY MUCH DO-IT-YOURSELF WAR. 1033 00:59:12,921 --> 00:59:15,854 IT WAS, IT WAS THE SIDE OF THE POOR 1034 00:59:15,887 --> 00:59:20,921 AND, UM, AND THAT WAS HOW IT WORKED, 1035 00:59:20,954 --> 00:59:23,687 {\an1}AND THOSE OF US WHO CARED ABOUT IT, CARED ABOUT IT, 1036 00:59:23,721 --> 00:59:27,521 {\an1}I SUPPOSE, MORE THAN ANYTHING BEFORE OR SINCE. 1037 00:59:27,554 --> 00:59:29,754 {\an1}[JOHNNY GANDELSMAN'S "THE GARDEN OF EDEN MIX 3" PLAYING] 1038 00:59:33,021 --> 00:59:35,387 {\an1}NARRATOR: BUT BEHIND THE SCENES, JOSEF STALIN 1039 00:59:35,421 --> 00:59:38,087 {\an1}WAS EXACTING A FEARFUL PRICE FOR THE AID 1040 00:59:38,121 --> 00:59:41,154 {\an1}HE PROVIDED TO LOYALIST SPAIN. 1041 00:59:41,187 --> 00:59:43,054 {\an1}HIS AGENTS WERE ORDERED TO TAKE OVER 1042 00:59:43,087 --> 00:59:45,954 {\an1}AS MUCH OF THE GOVERNMENT AS THEY COULD 1043 00:59:45,987 --> 00:59:49,987 {\an1}AND SUPPRESS WHAT STALIN CALLED "UNTRUSTWORTHY ELEMENTS" 1044 00:59:50,021 --> 00:59:54,621 {\an1}WITHIN ITS COALITION, ANYONE HE COULD NOT CONTROL... 1045 00:59:54,654 --> 00:59:58,654 {\an1}ANARCHISTS, SOCIALISTS, TROTSKYITES. 1046 00:59:58,687 --> 01:00:02,187 SUSPECTS WERE SPIRITED AWAY, TORTURED, 1047 01:00:02,221 --> 01:00:05,954 {\an1}EXECUTED IN SECRET AND WITHOUT TRIAL. 1048 01:00:07,421 --> 01:00:11,321 {\an1}HEMINGWAY AND GELLHORN DINED OFTEN WITH SOVIET COMMISSARS 1049 01:00:11,354 --> 01:00:13,654 {\an1}AND HEMINGWAY INTERVIEWED THE MAN RESPONSIBLE 1050 01:00:13,687 --> 01:00:17,021 {\an1}FOR MOST OF THE EXECUTIONS. 1051 01:00:17,054 --> 01:00:19,687 {\an1}BUT THEY REPORTED NONE OF IT. 1052 01:00:19,721 --> 01:00:21,754 {\an1}TO EXPOSE THEM, THEY BELIEVED, 1053 01:00:21,787 --> 01:00:25,854 WOULD HAVE HURT THE ANTI-FASCIST CAUSE. 1054 01:00:25,887 --> 01:00:28,654 {\an1}BESIDES, HEMINGWAY WANTED TO USE THE MATERIAL 1055 01:00:28,687 --> 01:00:30,487 {\an1}IN HIS NEXT NOVEL. 1056 01:00:31,921 --> 01:00:33,687 WHEN THE SOVIETS ORDERED THE EXECUTION 1057 01:00:33,721 --> 01:00:37,154 {\an1}OF A CLOSE LOYALIST FRIEND OF JOHN DOS PASSOS, 1058 01:00:37,187 --> 01:00:41,654 {\an1}HEMINGWAY TOLD DOS PASSOS TO KEEP QUIET ABOUT IT. 1059 01:00:41,687 --> 01:00:43,321 {\an1}WHEN HIS OLD FRIEND INSISTED 1060 01:00:43,354 --> 01:00:46,187 {\an1}HE HAD TO GO PUBLIC WITH WHAT HAD HAPPENED, 1061 01:00:46,221 --> 01:00:49,321 {\an1}HEMINGWAY SAID IT WOULD END HIS CAREER... 1062 01:00:49,354 --> 01:00:51,687 THE LEFT-WING LITERARY WORLD IN NEW YORK 1063 01:00:51,721 --> 01:00:53,587 {\an1}WOULD NEVER FORGIVE HIM. 1064 01:00:55,387 --> 01:00:58,154 "WHY, ERNEST," DOS PASSOS' WIFE SAID, 1065 01:00:58,187 --> 01:01:03,554 {\an1}"I'VE NEVER HEARD ANYTHING SO DESPICABLY OPPORTUNISTIC IN MY LIFE." 1066 01:01:03,587 --> 01:01:06,754 THEIR FRIENDSHIP NEVER FULLY RECOVERED. 1067 01:01:09,787 --> 01:01:11,263 THROUGH IT ALL, HEMINGWAY AND GELLHORN 1068 01:01:11,287 --> 01:01:13,221 {\an1}GREW STEADILY CLOSER. 1069 01:01:13,254 --> 01:01:16,121 {\an1}AT ONE POINT, HE ASKED HER TO MARRY HIM. 1070 01:01:16,154 --> 01:01:20,054 {\an1}SHE WAS AMBIVALENT, RESPONDING ONLY IN HER DIARY, 1071 01:01:20,087 --> 01:01:24,187 {\an1}"NOTE TO H.: I LOVE YOU VERY MUCH INDEED." 1072 01:01:25,654 --> 01:01:28,254 {\an1}WOMAN AS GELLHORN: I CAN DO VERY WELL WITHOUT MARRIAGE. 1073 01:01:28,287 --> 01:01:31,754 {\an1}I'D RATHER SIN RESPECTABLY, ANY DAY OF THE WEEK. 1074 01:01:31,787 --> 01:01:33,987 {\an1}ERNEST THINKS, OF COURSE, THAT MARRIAGE 1075 01:01:34,021 --> 01:01:37,821 {\an1}SAVES YOU A LOT OF TROUBLE AND HE IS ALL FOR IT. 1076 01:01:37,854 --> 01:01:42,454 {\an1}I LIKE IT BETTER CLEAN: I THINK SIN IS VERY CLEAN. 1077 01:01:42,487 --> 01:01:45,087 {\an1}THERE ARE NO STRINGS ATTACHED TO IT. 1078 01:01:45,121 --> 01:01:47,054 {\an1}[FILM PROJECTOR WHIRRING] 1079 01:01:47,087 --> 01:01:49,587 {\an1}[MEN SINGING INDISTINCTLY] 1080 01:01:49,621 --> 01:01:52,854 {\an1}HEMINGWAY: BEFORE, DEATH CAME WHEN YOU WERE OLD OR SICK. 1081 01:01:52,887 --> 01:01:55,421 BUT NOW IT COMES TO ALL THIS VILLAGE. 1082 01:01:55,454 --> 01:01:58,621 HIGH IN THE SKY, AND SHINING SILVER... 1083 01:01:58,654 --> 01:02:00,421 {\an1}NARRATOR: AFTER TWO MONTHS IN SPAIN, 1084 01:02:00,454 --> 01:02:02,621 THEY RETURNED TO THE UNITED STATES, 1085 01:02:02,654 --> 01:02:04,187 {\an1}WHERE GELLHORN PREVAILED UPON 1086 01:02:04,221 --> 01:02:06,354 {\an1}HER FRIENDSHIP WITH THE FIRST LADY 1087 01:02:06,387 --> 01:02:10,121 {\an1}TO SCREEN "THE SPANISH EARTH," A DOCUMENTARY FILM BY 1088 01:02:10,154 --> 01:02:13,687 {\an1}A COMMUNIST FILMMAKER NAMED JORIS IVENS 1089 01:02:13,721 --> 01:02:17,454 {\an1}THAT HEMINGWAY HAD WRITTEN AND NARRATED. 1090 01:02:17,487 --> 01:02:19,721 {\an1}HEMINGWAY: THE SMELL OF DEATH IS ACRID 1091 01:02:19,754 --> 01:02:21,621 {\an1}HIGH EXPLOSIVE SMOKE 1092 01:02:21,654 --> 01:02:23,787 {\an1}AND BLASTED GRANITE. 1093 01:02:23,821 --> 01:02:26,354 WHY DO THEY STAY? THEY STAY BECAUSE 1094 01:02:26,387 --> 01:02:30,054 {\an1}THIS IS THEIR CITY, THESE ARE THEIR HOMES. 1095 01:02:30,087 --> 01:02:33,487 {\an1}HERE IS THEIR WORK, THIS IS THEIR FIGHT. 1096 01:02:33,521 --> 01:02:36,187 {\an1}THE FIGHT TO BE ALLOWED TO LIVE AS HUMAN BEINGS. 1097 01:02:36,221 --> 01:02:38,030 {\an1}[JOHNNY GANDELSMAN'S "LA DESPEDIDA MIX 1" PLAYING] 1098 01:02:38,054 --> 01:02:39,730 {\an1}NARRATOR: "IT WAS DAMNED NICE OF THE ROOSEVELTS 1099 01:02:39,754 --> 01:02:42,287 TO HAVE US," HEMINGWAY LATER WROTE, 1100 01:02:42,321 --> 01:02:44,787 {\an1}BUT THE PRESIDENT, WHILE SYMPATHETIC, 1101 01:02:44,821 --> 01:02:48,821 {\an1}FELT HE COULD DO NOTHING TO HELP THE LOYALIST CAUSE. 1102 01:02:48,854 --> 01:02:52,421 {\an1}THE UNITED STATES WAS STILL A NEUTRAL COUNTRY. 1103 01:02:53,821 --> 01:02:55,521 {\an1}HEMINGWAY WOULD RETURN TO SPAIN 1104 01:02:55,554 --> 01:02:59,521 3 MORE TIMES OVER THE NEXT 17 MONTHS 1105 01:02:59,554 --> 01:03:04,721 {\an1}AS THE FASCISTS SLOWLY, STEADILY ADVANCED. 1106 01:03:04,754 --> 01:03:08,187 {\an1}THOUGH HE HAD PRIVATELY COME TO BELIEVE THE WAR HAD DEVOLVED 1107 01:03:08,221 --> 01:03:10,387 {\an1}INTO WHAT HE CALLED "A CARNIVAL OF 1108 01:03:10,421 --> 01:03:14,221 {\an1}TREACHERY AND ROTTENNESS ON BOTH SIDES," 1109 01:03:14,254 --> 01:03:17,221 {\an1}HIS DISPATCHES REMAINED OPTIMISTIC EVEN AS 1110 01:03:17,254 --> 01:03:20,687 {\an1}HOPES FOR A LOYALIST VICTORY BEGAN TO FADE. 1111 01:03:22,154 --> 01:03:24,187 {\an1}[EXPLOSIONS AND GUNFIRE] 1112 01:03:41,454 --> 01:03:43,521 {\an1}AND WHEN ALL WAS FINALLY LOST 1113 01:03:43,554 --> 01:03:45,421 {\an1}AND LOYALIST FRIENDS OF HEMINGWAY'S 1114 01:03:45,454 --> 01:03:48,887 WERE FORCED INTO EXILE IN FRANCE, 1115 01:03:48,921 --> 01:03:52,321 {\an1}WITHOUT A CAUSE OR A COUNTRY ANYMORE, 1116 01:03:52,354 --> 01:03:54,821 {\an1}MARTHA FOUND HIM WEEPING. 1117 01:03:56,354 --> 01:03:59,921 {\an1}"I REALLY DID LOVE ERNEST THEN," SHE WOULD REMEMBER. 1118 01:04:05,187 --> 01:04:07,387 {\an1}[DAVID CIERI'S "I USED TO LOVE YOU VARIATION 2" PLAYING] 1119 01:04:07,421 --> 01:04:09,754 {\an1}WOMAN AS PAULINE HEMINGWAY: OH, PAPA DARLING, 1120 01:04:09,787 --> 01:04:11,621 {\an1}WHAT IS THE MATTER WITH YOU? 1121 01:04:11,654 --> 01:04:13,754 {\an1}IF YOU ARE NO LONGER THE MAN I USED TO KNOW, 1122 01:04:13,787 --> 01:04:16,721 GET THE HELL OUT, 1123 01:04:16,754 --> 01:04:20,221 BUT IF YOU ARE, STOP BEING SO STUPID. 1124 01:04:23,487 --> 01:04:25,854 {\an1}NARRATOR: FROM THE FIRST, PAULINE HAD RESENTED 1125 01:04:25,887 --> 01:04:29,921 HER HUSBAND'S LONG ABSENCES OVERSEAS. 1126 01:04:29,954 --> 01:04:32,121 {\an1}THEN, SOMEHOW, SHE LEARNED OF 1127 01:04:32,154 --> 01:04:35,021 {\an1}HIS RELATIONSHIP WITH MARTHA GELLHORN. 1128 01:04:35,054 --> 01:04:36,821 {\an1}SHE DID EVERYTHING SHE COULD THINK OF 1129 01:04:36,854 --> 01:04:39,754 {\an1}TO KEEP HER MARRIAGE INTACT... 1130 01:04:39,787 --> 01:04:43,287 REUNIONS WITH HER HUSBAND IN PARIS, 1131 01:04:43,321 --> 01:04:46,687 {\an1}WYOMING VACATIONS WITH HIM AND THE BOYS, 1132 01:04:46,721 --> 01:04:49,987 {\an1}FAMILY FISHING TRIPS OFF FLORIDA. 1133 01:04:50,021 --> 01:04:52,254 {\an1}NOTHING SEEMED TO WORK. 1134 01:04:52,287 --> 01:04:53,754 {\an1}WHENEVER THEY WERE TOGETHER, 1135 01:04:53,787 --> 01:04:56,954 {\an1}BOTH SHE AND HER HUSBAND WERE MISERABLE. 1136 01:04:59,021 --> 01:05:00,463 {\an1}WOMAN AS PAULINE HEMINGWAY: LIFE HERE IS GOING ON 1137 01:05:00,487 --> 01:05:02,487 JUST THE SAME AS WHEN YOU WERE HERE 1138 01:05:02,521 --> 01:05:05,687 {\an1}AND IT WAS SO UNATTRACTIVE TO YOU, 1139 01:05:05,721 --> 01:05:08,521 {\an1}AND IT WON'T BE ANY DIFFERENT WHEN YOU GET BACK, 1140 01:05:08,554 --> 01:05:10,287 {\an1}SO, IF YOU ARE HAPPY OVER THERE, 1141 01:05:10,321 --> 01:05:12,921 {\an1}DON'T COME BACK HERE TO BE UNHAPPY... 1142 01:05:14,154 --> 01:05:18,787 {\an1}BUT I HOPE YOU CAN COME BACK AND WE CAN BOTH BE HAPPY. 1143 01:05:20,487 --> 01:05:22,487 {\an1}[GERARDO MARTIÍNEZ'S "ROMAÁNTICA MUJER" PLAYING] 1144 01:05:33,521 --> 01:05:36,054 {\an1}NARRATOR: IN THE EARLY SPRING OF 1939, 1145 01:05:36,087 --> 01:05:38,321 {\an1}HEMINGWAY WAS IN CUBA AGAIN, 1146 01:05:38,354 --> 01:05:42,754 {\an1}WORKING ON A NEW NOVEL SET DURING THE SPANISH CIVIL WAR, 1147 01:05:42,787 --> 01:05:46,687 TO BE CALLED "FOR WHOM THE BELL TOLLS." 1148 01:05:46,721 --> 01:05:49,454 {\an1}HE HAD INVITED GELLHORN TO JOIN HIM. 1149 01:05:51,421 --> 01:05:53,821 {\an1}WOMAN AS GELLHORN: IT IS EXACTLY AS IF HE WERE DEAD 1150 01:05:53,854 --> 01:05:56,287 {\an1}OR VISITING ON THE MOON. 1151 01:05:56,321 --> 01:05:57,887 {\an1}HE WRITES AND WHEN HE IS THROUGH 1152 01:05:57,921 --> 01:05:59,921 {\an1}HE GOES INTO A SILENCE. 1153 01:06:01,921 --> 01:06:04,521 {\an1}HE PROTECTS HIMSELF FROM ANYTHING AND EVERYTHING, 1154 01:06:04,554 --> 01:06:06,854 {\an1}TAKES NO PART IN THIS WORLD, 1155 01:06:06,887 --> 01:06:10,187 {\an1}CARES ABOUT NOTHING EXCEPT WHAT HE IS WRITING. 1156 01:06:10,221 --> 01:06:13,054 {\an1}HE'S ABOUT AS MUCH USE AS A STUFFED SQUIRREL, 1157 01:06:13,087 --> 01:06:16,621 {\an1}BUT HE IS TURNING OUT A BEAUTIFUL STORY. 1158 01:06:16,654 --> 01:06:19,954 {\an1}AND NOTHING ON EARTH BESIDES MATTERS TO HIM. 1159 01:06:19,987 --> 01:06:22,287 {\an1}YOU SEE, THAT'S THE WAY TO BE. 1160 01:06:22,321 --> 01:06:25,121 {\an1}THAT WAY YOU GET WRITING DONE. 1161 01:06:25,154 --> 01:06:28,054 {\an1}HE LIKEWISE BELIEVES IN HIMSELF AND HIS WRITING 1162 01:06:28,087 --> 01:06:31,821 {\an1}AS IF IT WERE THE TABLETS OF STONE OR THE TRUE GOD, 1163 01:06:31,854 --> 01:06:34,221 {\an1}AND THAT'S ANOTHER ESSENTIAL. 1164 01:06:36,987 --> 01:06:38,454 {\an1}NARRATOR: NO MATTER HOW MUCH GELLHORN 1165 01:06:38,487 --> 01:06:40,654 {\an1}BELIEVED IN HEMINGWAY AND HIS WORK, 1166 01:06:40,687 --> 01:06:45,121 {\an1}LIVING COOPED UP IN A HAVANA HOTEL WITH HIM DAY AFTER DAY, 1167 01:06:45,154 --> 01:06:46,887 {\an1}TRYING TO DO HER OWN WRITING 1168 01:06:46,921 --> 01:06:49,387 {\an1}WHILE HE LABORED OVER HIS TYPEWRITER, 1169 01:06:49,421 --> 01:06:52,254 {\an1}DID NOT APPEAL FOR LONG, 1170 01:06:52,287 --> 01:06:56,187 {\an1}SO, SHE RENTED A RUN-DOWN, 10-ACRE, HILL-TOP PROPERTY, 1171 01:06:56,221 --> 01:07:00,954 {\an1}12 MILES OUTSIDE THE CITY, CALLED FINCA VIGIÍA... 1172 01:07:00,987 --> 01:07:03,821 {\an1}SPANISH FOR "LOOKOUT FARM." 1173 01:07:07,621 --> 01:07:08,930 {\an1}WOMAN AS GELLHORN: I WOKE TO LOOK OUT MY WINDOW 1174 01:07:08,954 --> 01:07:11,021 {\an1}AT A CEIBA TREE, SO BEAUTIFUL 1175 01:07:11,054 --> 01:07:13,354 {\an1}THAT YOU CAN'T BELIEVE IT, 1176 01:07:13,387 --> 01:07:17,521 {\an1}AND HEAR THE PALMS RATTLING IN THE MORNING WIND, 1177 01:07:17,554 --> 01:07:21,921 {\an1}AND THE SUN STREAKING OVER THE TILED FLOORS, 1178 01:07:21,954 --> 01:07:27,687 {\an1}AND THE HOUSE ITSELF, WIDE AND BARE AND CLEAN AND EMPTY, 1179 01:07:27,721 --> 01:07:30,387 {\an1}LYING QUIET ALL AROUND ME. 1180 01:07:30,421 --> 01:07:33,621 {\an1}AND I AM DELIGHTED. 1181 01:07:33,654 --> 01:07:35,354 {\an1}NARRATOR: HEMINGWAY WAS DELIGHTED, TOO, 1182 01:07:35,387 --> 01:07:38,621 {\an1}AND WOULD EVENTUALLY BUY THE PLACE OUTRIGHT. 1183 01:07:38,654 --> 01:07:42,721 {\an1}THE FINCA WOULD BE HIS HOME FOR THE NEXT TWO DECADES. 1184 01:07:44,821 --> 01:07:46,854 {\an7}[PADURA SPEAKING SPANISH] 1185 01:08:27,287 --> 01:08:29,621 {\an1}MAN AS HEMINGWAY: PEOPLE ASK YOU WHY YOU LIVE IN CUBA 1186 01:08:29,654 --> 01:08:32,954 {\an1}AND YOU SAY IT IS BECAUSE YOU LIKE IT. 1187 01:08:32,987 --> 01:08:34,887 {\an1}IT IS TOO COMPLICATED TO EXPLAIN ABOUT 1188 01:08:34,921 --> 01:08:38,387 THE EARLY MORNING IN THE HILLS ABOVE HAVANA 1189 01:08:38,421 --> 01:08:40,621 {\an1}WHERE EVERY MORNING IS COOL AND FRESH 1190 01:08:40,654 --> 01:08:43,187 {\an1}ON THE HOTTEST DAY IN SUMMER. 1191 01:08:43,221 --> 01:08:44,954 {\an1}YOU COULD TELL THEM THAT YOU LIVE IN CUBA 1192 01:08:44,987 --> 01:08:47,054 {\an1}BECAUSE YOU ONLY HAVE TO PUT SHOES ON 1193 01:08:47,087 --> 01:08:49,221 {\an1}WHEN YOU COME INTO TOWN, 1194 01:08:49,254 --> 01:08:52,854 {\an1}AND THAT YOU WORK AS WELL THERE IN THOSE COOL EARLY MORNINGS 1195 01:08:52,887 --> 01:08:55,787 {\an1}AS YOU EVER HAVE WORKED ANYWHERE IN THE WORLD. 1196 01:08:57,621 --> 01:08:59,787 BUT THOSE ARE PROFESSIONAL SECRETS. 1197 01:09:03,854 --> 01:09:06,454 {\an1}PATRICK: I THINK WHAT HE LIKED ABOUT CUBA AND... 1198 01:09:06,487 --> 01:09:09,454 {\an1}AND WHY IT WAS SO BAD WHEN IT WENT SOUR 1199 01:09:09,487 --> 01:09:14,587 {\an1}WAS HE COULD REALLY INSULATE HIMSELF FROM BEING AN AMERICAN; 1200 01:09:14,621 --> 01:09:17,787 {\an1}HE COULD JUST COMPLETELY LEAVE THAT BEHIND, 1201 01:09:17,821 --> 01:09:21,287 {\an1}ENTER A WORLD WHERE HE HAD NO LOYALTIES, 1202 01:09:21,321 --> 01:09:23,587 {\an1}HE HAD NO REGRETS, NOTHING. 1203 01:09:23,621 --> 01:09:26,954 IT WAS A SORT OF NEUTRAL CORNER FOR HIM. 1204 01:09:26,987 --> 01:09:28,921 {\an1}MUCH HAS BEEN MADE BY THE CUBANS 1205 01:09:28,954 --> 01:09:31,121 {\an7}OF HIS LOVE OF THE CUBAN PEOPLE. 1206 01:09:31,154 --> 01:09:33,454 {\an7}I DON'T THINK HE HAD MUCH FEELING [CHUCKLES] 1207 01:09:33,487 --> 01:09:35,187 {\an1}FOR THE CUBAN PEOPLE AT ALL. 1208 01:09:35,221 --> 01:09:41,487 {\an1}BUT... AH... HE... HE... AH... HE COULDN'T BE IN SPAIN 1209 01:09:41,521 --> 01:09:44,487 {\an1}AND THIS WAS THE SECOND BEST, YOU KNOW. 1210 01:09:44,521 --> 01:09:46,530 {\an1}[TURNER LAYTON & HENRY CREAMER'S "AFTER YOU'VE GONE (INSTRUMENTAL)" PLAYING] 1211 01:09:46,554 --> 01:09:49,154 {\an1}WOMAN AS GELLHORN: I AM NOW SUDDENLY A MOTHER OF 3 1212 01:09:49,187 --> 01:09:51,454 {\an1}AND I MUST SAY I LOVE IT. 1213 01:09:51,487 --> 01:09:54,687 {\an1}IT'S CERTAINLY A LOT MORE FUN TO BE A MOTHER OF 3 1214 01:09:54,721 --> 01:09:57,621 {\an1}WITHOUT EVER HAVING TO LOSE YOUR SHAPE 1215 01:09:57,654 --> 01:10:00,587 {\an1}THAN BEING A MOTHER OF ONE, YOUR OWN, 1216 01:10:00,621 --> 01:10:03,621 {\an1}AND NOT KNOWING HOW THE BRAT WILL TURN OUT. 1217 01:10:05,187 --> 01:10:07,221 {\an1}NARRATOR: HEMINGWAY'S SONS WOULD COME TO VISIT... 1218 01:10:07,254 --> 01:10:09,487 {\an1}AND BEGIN TO GET TO KNOW THE WOMAN WITH WHOM 1219 01:10:09,521 --> 01:10:12,921 THEIR FATHER WAS NOW OPENLY LIVING. 1220 01:10:12,954 --> 01:10:15,154 {\an1}PATRICK: SHE WAS WONDERFUL WITH US. 1221 01:10:15,187 --> 01:10:16,587 {\an1}I... I REALLY LOVED HER 1222 01:10:16,621 --> 01:10:19,421 {\an1}AND SHE WAS A WONDERFUL PERSON. 1223 01:10:19,454 --> 01:10:22,754 {\an1}NARRATOR: GREGORY REMEMBERED HOW BEAUTIFUL MARTHA SEEMED 1224 01:10:22,787 --> 01:10:26,821 {\an1}AND HER WILLINGNESS TO LISTEN TO THE OPINIONS OF A 9-YEAR-OLD, 1225 01:10:26,854 --> 01:10:29,621 {\an1}"AND AT LEAST PRETEND TO GIVE THEM WEIGHT." 1226 01:10:30,854 --> 01:10:32,787 {\an1}BUMBY LIKED HER, TOO, HE REMEMBERED. 1227 01:10:32,821 --> 01:10:35,621 {\an1}"I WAS OVERWHELMED BY THIS MARVELOUS CREATURE 1228 01:10:35,654 --> 01:10:38,154 {\an1}"WHO COULD SAY THE "F" WORD SO NATURALLY 1229 01:10:38,187 --> 01:10:40,654 {\an1}"THAT IT DIDN'T SOUND DIRTY. 1230 01:10:40,687 --> 01:10:42,987 {\an1}I WAS HER IMMEDIATE CAPTIVE." 1231 01:10:44,387 --> 01:10:46,030 {\an1}WOMAN AS GELLHORN: THEY ALL THINK I AM A SORT OF 1232 01:10:46,054 --> 01:10:48,987 {\an1}COLOSSAL JOKE AND ONE OF THE BOYS 1233 01:10:49,021 --> 01:10:51,154 {\an1}AND REFER TO ME AS "THE MARTY," 1234 01:10:51,187 --> 01:10:53,421 {\an1}AND I THINK IT ALL GOES VERY FINE. 1235 01:10:53,454 --> 01:10:57,387 {\an1}ANYHOW I AM NUTS FOR THEM, WHICH IS A GRAND THING. 1236 01:11:01,687 --> 01:11:05,287 {\an1}NARRATOR: ERNEST RETURNED FROM TIME TO TIME TO KEY WEST 1237 01:11:05,321 --> 01:11:07,854 {\an1}TO SEE HIS CHILDREN DURING THE SCHOOL YEAR... 1238 01:11:07,887 --> 01:11:11,587 {\an1}AND TO SEE IF HE AND PAULINE COULD SOMEHOW MAKE IT WORK. 1239 01:11:13,821 --> 01:11:18,287 {\an1}OVER THEIR 15 YEARS TOGETHER... 13 AS A MARRIED COUPLE... 1240 01:11:18,321 --> 01:11:20,721 {\an1}HEMINGWAY HAD RISEN TO A KIND OF FAME 1241 01:11:20,754 --> 01:11:25,054 {\an1}NO AMERICAN WRITER SINCE MARK TWAIN HAD ENJOYED. 1242 01:11:25,087 --> 01:11:26,954 {\an1}ALL THAT TIME, PAULINE HAD 1243 01:11:26,987 --> 01:11:29,787 {\an1}DEVOTED HERSELF TO HIS WELL-BEING, 1244 01:11:29,821 --> 01:11:33,954 {\an1}OFTEN ACTED AS HIS EDITOR, AND SHE AND HER FAMILY 1245 01:11:33,987 --> 01:11:38,687 {\an1}HAD PROVIDED FINANCIAL SUPPORT BETWEEN BOOKS. 1246 01:11:38,721 --> 01:11:43,287 {\an1}BUT IN THE END, NONE OF IT WOULD SEEM TO MATTER TO HIM. 1247 01:11:45,587 --> 01:11:47,887 EDNA: O'BRIEN: WHEN PEOPLE WANT TO GO AWAY, 1248 01:11:47,921 --> 01:11:49,687 {\an1}THERE ARE TWO THINGS ATTACHED TO IT. 1249 01:11:49,721 --> 01:11:53,421 {\an1}ONE IS ADVENTURE AND NEW THINGS, 1250 01:11:53,454 --> 01:11:54,987 {\an1}NEW SIGHTS, NEW SCENES, 1251 01:11:55,021 --> 01:11:56,987 DANGER, WHATEVER. 1252 01:11:57,021 --> 01:11:59,721 {\an1}BUT THE OTHER, WHICH I BELIEVE, 1253 01:11:59,754 --> 01:12:03,954 {\an1}AGAIN, IT IS ONLY MY HUNCH, 1254 01:12:03,987 --> 01:12:06,121 {\an1}IS TO ESCAPE HIS OWN FAMILY. 1255 01:12:07,654 --> 01:12:09,854 WRITERS DO. THEY HAVE TO. 1256 01:12:11,621 --> 01:12:13,921 MAN AS HEMINGWAY: MEN WANT SOMEONE NEW, 1257 01:12:13,954 --> 01:12:15,621 {\an1}OR SOMEONE YOUNGER, 1258 01:12:15,654 --> 01:12:18,121 OR SOMEONE THAT THEY SHOULDN'T HAVE, 1259 01:12:18,154 --> 01:12:21,854 {\an7}OR SOMEONE THAT LOOKS LIKE SOMEONE ELSE. 1260 01:12:21,887 --> 01:12:23,754 {\an7}THE BETTER YOU TREAT A MAN 1261 01:12:23,787 --> 01:12:26,587 {\an7}AND THE MORE YOU SHOW HIM YOU LOVE HIM, 1262 01:12:26,621 --> 01:12:30,387 {\an1}THE QUICKER HE GETS TIRED OF YOU. 1263 01:12:30,421 --> 01:12:33,221 {\an1}DEARBORN: HE SAYS TO PAULINE, "YOU TOOK ME FROM HADLEY 1264 01:12:33,254 --> 01:12:35,887 {\an1}"AND NOW MARTHA IS TAKING ME FROM YOU. 1265 01:12:35,921 --> 01:12:38,221 {\an1}"WHAT GOES AROUND, COMES AROUND. 1266 01:12:38,254 --> 01:12:40,587 {\an1}LIVE BY THE SWORD, DIE BY THE SWORD." 1267 01:12:40,621 --> 01:12:44,654 {\an1}AND I THINK THAT WAS A REALLY ROTTEN THING TO TELL PAULINE. 1268 01:12:44,687 --> 01:12:48,387 {\an7}I MEAN, PAULINE MADE POSSIBLE SOME OF HIS BEST WORK. 1269 01:12:48,421 --> 01:12:50,754 {\an7}AND SHE'S HIS BEST READER. 1270 01:12:50,787 --> 01:12:53,054 {\an1}NARRATOR: AS A CATHOLIC, PAULINE WAS RELUCTANT 1271 01:12:53,087 --> 01:12:55,921 {\an1}TO GRANT HEMINGWAY A DIVORCE. 1272 01:12:55,954 --> 01:12:59,787 {\an1}THERE WERE ANGRY ACCUSATIONS FROM BOTH SIDES. 1273 01:12:59,821 --> 01:13:03,287 {\an1}GREGORY REMEMBERED "SHOUTING IN OTHER ROOMS, 1274 01:13:03,321 --> 01:13:06,021 "DOORS SLAMMING, MOTHER SCURRYING 1275 01:13:06,054 --> 01:13:08,721 {\an1}OUT OF THEIR BEDROOM CRYING." 1276 01:13:10,021 --> 01:13:11,954 {\an1}PATRICK: YOU KNOW, BY 1939 IT WAS, 1277 01:13:11,987 --> 01:13:14,254 OH, IT WAS JUST COMING TO AN END. 1278 01:13:15,521 --> 01:13:19,587 {\an1}THE PATTERN IN OUR FAMILY WAS TO DRIVE OUT FROM FLORIDA 1279 01:13:19,621 --> 01:13:21,454 TO, TO THE WEST. 1280 01:13:21,487 --> 01:13:23,654 {\an1}AND IT TOOK QUITE A WHILE. 1281 01:13:23,687 --> 01:13:27,121 {\an1}AND THEY HAD TREMENDOUS ARGUMENTS, I REMEMBER. 1282 01:13:27,154 --> 01:13:29,787 {\an1}AND DRIVING, YOU KNOW, WHICH ROAD TO TAKE 1283 01:13:29,821 --> 01:13:33,421 {\an1}AND, JUST ON EACH OTHER ALL SUMMER LONG. 1284 01:13:34,821 --> 01:13:38,354 {\an1}THEY WERE STILL NOMINALLY TOGETHER, YOU KNOW, 1285 01:13:38,387 --> 01:13:42,354 {\an1}BUT HE WAS REALLY PULLING OUT. 1286 01:13:42,387 --> 01:13:45,387 {\an1}NARRATOR: ON SEPTEMBER 3, 1939... 1287 01:13:45,421 --> 01:13:48,887 TWO DAYS AFTER HITLER'S FORCES INVADED POLAND, 1288 01:13:48,921 --> 01:13:51,321 {\an1}STARTING THE SECOND WORLD WAR... 1289 01:13:51,354 --> 01:13:55,521 {\an1}HEMINGWAY FINALLY TOLD PAULINE HE WAS LEAVING FOR GOOD. 1290 01:13:59,687 --> 01:14:02,687 {\an1}[JOHNNY GANDELSMAN'S "THE GARDEN OF EDEN MIX 3 GUITAR STEM" PLAYING] 1291 01:14:02,721 --> 01:14:04,554 {\an1}JOHN McCAIN: I WAS 12 YEARS OLD. 1292 01:14:04,587 --> 01:14:08,954 {\an1}I FOUND A FOUR-LEAF CLOVER AND I BROUGHT IT IN, 1293 01:14:08,987 --> 01:14:13,421 {\an1}TO PRESS IT IN A BOOK SO I COULD PRESERVE IT. 1294 01:14:13,454 --> 01:14:16,921 {\an1}THAT HAPPENED TO BE "FOR WHOM THE BELL TOLLS," 1295 01:14:16,954 --> 01:14:19,221 {\an7}STILL THE GREAT AMERICAN NOVEL. 1296 01:14:19,254 --> 01:14:23,154 {\an7}AND I STARTED READING AND I COULDN'T STOP UNTIL I FINISHED. 1297 01:14:25,421 --> 01:14:26,763 NARRATOR: WHEN "FOR WHOM THE BELL TOLLS" 1298 01:14:26,787 --> 01:14:29,921 WAS PUBLISHED IN OCTOBER OF 1940, 1299 01:14:29,954 --> 01:14:32,987 {\an1}EUROPE AND ASIA WERE ENGULFED IN A WORLD WAR 1300 01:14:33,021 --> 01:14:35,387 {\an1}FAR MORE CATACLYSMIC THAN THE ONE 1301 01:14:35,421 --> 01:14:37,587 {\an1}IN WHICH HEMINGWAY HAD BEEN WOUNDED. 1302 01:14:37,621 --> 01:14:40,181 {\an1}[JOHNNY GANDELSMAN'S "THE GARDEN OF EDEN MIX 3 BASS STEM" PLAYING] 1303 01:14:52,421 --> 01:14:54,981 {\an1}[JOHNNY GANDELSMAN'S "THE GARDEN OF EDEN MIX 3 PERC STEM" PLAYING] 1304 01:15:01,121 --> 01:15:02,630 {\an1}VAILL: BY THE TIME "FOR WHOM THE BELL TOLLS" 1305 01:15:02,654 --> 01:15:05,354 CAME OUT IN 1940, 1306 01:15:05,387 --> 01:15:09,087 {\an1}WAR IN EUROPE WAS A REALITY. 1307 01:15:09,121 --> 01:15:14,087 {\an1}FRANCE HAD FALLEN. IT WAS DO OR DIE TIME. 1308 01:15:14,121 --> 01:15:18,087 {\an1}THE QUESTIONS THAT HEMINGWAY RAISES IN THAT NOVEL 1309 01:15:18,121 --> 01:15:20,487 {\an1}WERE INCREDIBLY URGENT. 1310 01:15:20,521 --> 01:15:24,487 {\an7}AND IT WAS CLEAR THAT THE BELL WAS TOLLING 1311 01:15:24,521 --> 01:15:27,321 {\an7}FOR EVERYBODY IN THIS COUNTRY, NOT JUST FOR THE PEOPLE 1312 01:15:27,354 --> 01:15:29,887 IN FRANCE AND IN ENGLAND OR SPAIN. 1313 01:15:29,921 --> 01:15:32,797 {\an1}[BACH'S "PARTITIA FOR SOLO VIOLIN NO.1 IN B MINOR V SARABANDE VARIATION 5" PLAYING] 1314 01:15:32,821 --> 01:15:35,587 {\an1}NARRATOR: THE STORY IS SET IN 1937, 1315 01:15:35,621 --> 01:15:37,821 {\an1}WHEN THE DEFEAT OF FRANCO'S FORCES 1316 01:15:37,854 --> 01:15:40,021 {\an1}HAD STILL SEEMED POSSIBLE. 1317 01:15:41,487 --> 01:15:45,087 {\an1}ITS HERO IS AN IDEALISTIC YOUNG AMERICAN COLLEGE INSTRUCTOR 1318 01:15:45,121 --> 01:15:49,254 {\an1}NAMED ROBERT JORDAN, WITH SOME KNOWLEDGE OF EXPLOSIVES 1319 01:15:49,287 --> 01:15:53,954 {\an1}AND NO POLITICAL AFFILIATION OTHER THAN HATRED OF FASCISM, 1320 01:15:53,987 --> 01:15:57,654 {\an1}WHO FINDS HIMSELF PART OF A GUERILLA BAND THAT UNDERTAKES 1321 01:15:57,687 --> 01:16:01,287 A DOOMED MISSION TO DYNAMITE A BRIDGE. 1322 01:16:02,921 --> 01:16:05,187 McCAIN: MY HERO IS ROBERT JORDAN. 1323 01:16:05,221 --> 01:16:08,487 ROBERT JORDAN IS AS REAL TO ME AS YOU ARE. 1324 01:16:08,521 --> 01:16:12,154 {\an1}HE WAS WORKING AS A PROFESSOR IN THE UNIVERSITY OF MONTANA. 1325 01:16:12,187 --> 01:16:13,587 {\an1}BUT HE HEARD ABOUT THIS STRUGGLE. 1326 01:16:13,621 --> 01:16:15,554 {\an1}HE KNEW ABOUT FASCISM. HE KNEW WHAT 1327 01:16:15,587 --> 01:16:18,554 {\an1}HITLER AND MUSSOLINI WERE DOING. 1328 01:16:18,587 --> 01:16:21,121 {\an1}AND HE DECIDED TO GO AND FIGHT 1329 01:16:21,154 --> 01:16:23,721 {\an1}ON BEHALF OF PEOPLE HE HAD NEVER MET 1330 01:16:23,754 --> 01:16:26,321 {\an1}AND HE DID NOT KNOW. 1331 01:16:26,354 --> 01:16:31,054 {\an1}EVEN KNOWING THAT THAT CAUSE WAS A FLAWED CAUSE. 1332 01:16:32,987 --> 01:16:35,787 {\an1}BUT HE WAS WILLING TO FIGHT AND DO 1333 01:16:35,821 --> 01:16:38,287 {\an1}WHATEVER HE THOUGHT HE COULD 1334 01:16:38,321 --> 01:16:41,621 FOR THE CAUSE OF JUSTICE AND FREEDOM. 1335 01:16:41,654 --> 01:16:44,221 {\an1}I ALWAYS WANTED TO BE ROBERT JORDAN. 1336 01:16:46,921 --> 01:16:50,421 {\an1}NARRATOR: ROBERT JORDAN IS WILLING TO KILL... AND TO DIE... 1337 01:16:50,454 --> 01:16:54,054 {\an1}TO CARRY OUT THE ORDERS OF A SOVIET GENERAL, 1338 01:16:54,087 --> 01:16:56,854 {\an1}BUT HE CANNOT ESCAPE HIS GROWING BELIEF 1339 01:16:56,887 --> 01:17:00,854 {\an1}THAT THE WAR HAS BECOME "AN IDIOCY WITHOUT BOUNDS." 1340 01:17:02,254 --> 01:17:03,721 {\an1}VAILL: IT'S A MUCH MORE 3-DIMENSIONAL 1341 01:17:03,754 --> 01:17:05,654 {\an1}PORTRAYAL OF THE STRUGGLE 1342 01:17:05,687 --> 01:17:08,387 {\an1}THAN HE HAD ALLOWED HIMSELF TO GIVE 1343 01:17:08,421 --> 01:17:11,787 {\an1}WHEN HE WAS OSTENSIBLY WRITING JOURNALISM ABOUT IT. 1344 01:17:11,821 --> 01:17:13,587 {\an1}IT'S PRETTY INTERESTING THAT THE NOVEL IS 1345 01:17:13,621 --> 01:17:15,421 {\an1}MORE TRUTHFUL THAN THE JOURNALISM. 1346 01:17:15,454 --> 01:17:17,954 {\an1}[JOHNNY GANDELSMAN'S "THE GARDEN OF EDEN MIX 3" PLAYING] 1347 01:17:17,987 --> 01:17:21,454 {\an1}NARRATOR: THERE ARE ATROCITIES COMMITTED BY BOTH SIDES, 1348 01:17:21,487 --> 01:17:23,721 {\an1}INCLUDING THE LOYALISTS' SLAUGHTER OF 1349 01:17:23,754 --> 01:17:26,354 {\an1}CIVILIAN FASCIST SYMPATHIZERS, 1350 01:17:26,387 --> 01:17:28,621 {\an1}WHO ARE FORCED TO RUN A BRUTAL GAUNTLET, 1351 01:17:28,654 --> 01:17:32,621 {\an1}THEN HURLED FROM THE CLIFFS IN AN ANDALUSIAN TOWN. 1352 01:17:34,554 --> 01:17:36,597 {\an1}MAN AS HEMINGWAY: THEY CLUBBED HIM TO DEATH VERY QUICKLY, 1353 01:17:36,621 --> 01:17:40,587 {\an1}BEATING HIM AS SOON AS HE REACHED THE FIRST OF THE MEN, 1354 01:17:40,621 --> 01:17:43,721 {\an1}BEATING HIM AS HE TRIED TO WALK WITH HIS HEAD UP, 1355 01:17:43,754 --> 01:17:46,887 {\an1}BEATING HIM UNTIL HE FELL AND CHOPPING AT HIM 1356 01:17:46,921 --> 01:17:49,954 {\an1}WITH REAPING HOOKS AND THE SICKLES, 1357 01:17:49,987 --> 01:17:52,121 {\an1}AND MANY MEN BORE HIM TO THE EDGE OF THE CLIFF 1358 01:17:52,154 --> 01:17:54,421 TO THROW HIM OVER AND THERE WAS BLOOD NOW 1359 01:17:54,454 --> 01:17:57,554 {\an1}ON THEIR HANDS AND ON THEIR CLOTHING, 1360 01:17:57,587 --> 01:17:59,221 {\an1}AND NOW BEGAN TO BE THE FEELING THAT 1361 01:17:59,254 --> 01:18:02,987 {\an1}THESE WHO CAME OUT WERE TRULY ENEMIES 1362 01:18:03,021 --> 01:18:04,454 {\an1}AND SHOULD BE KILLED. 1363 01:18:08,154 --> 01:18:10,987 {\an1}NARRATOR: ROBERT JORDAN MANAGES TO BLOW UP THE BRIDGE 1364 01:18:11,021 --> 01:18:13,354 {\an1}BUT IS BADLY WOUNDED. 1365 01:18:13,387 --> 01:18:17,987 {\an1}AT THE NOVEL'S CLIMAX, HE LIES ALONE, IMMOBILIZED, 1366 01:18:18,021 --> 01:18:21,321 {\an1}ON A WOODED SLOPE, WAITING WITH HIS RIFLE 1367 01:18:21,354 --> 01:18:24,221 {\an1}AS A FASCIST PATROL COMES CLOSER. 1368 01:18:25,587 --> 01:18:28,054 {\an1}VAILL: THE END OF THAT NOVEL IS AS GOOD AS 1369 01:18:28,087 --> 01:18:31,387 {\an1}ANYTHING HEMINGWAY EVER WROTE, I THINK. 1370 01:18:31,421 --> 01:18:34,854 {\an1}HEMINGWAY ALL HIS LIFE IS WRESTLING WITH 1371 01:18:34,887 --> 01:18:38,687 {\an1}QUESTIONS OF DEATH AND SUICIDE AND WHETHER IT 1372 01:18:38,721 --> 01:18:40,487 {\an1}HURTS VERY MUCH TO DIE, DADDY, 1373 01:18:40,521 --> 01:18:43,321 {\an1}OR IT DOESN'T, WHETHER THAT IS 1374 01:18:43,354 --> 01:18:45,887 {\an1}THE BRAVE THING TO DO, THE RIGHT THING TO DO, 1375 01:18:45,921 --> 01:18:48,121 OR WHETHER IT'S THE COWARD'S WAY OUT. 1376 01:18:48,154 --> 01:18:50,754 {\an1}HE'S WRESTLING WITH THAT ALL HIS LIFE. 1377 01:18:53,387 --> 01:18:55,621 {\an1}NARRATOR: JORDAN'S FATHER, THE READER LEARNS, 1378 01:18:55,654 --> 01:18:58,721 LIKE HEMINGWAY'S, HAD KILLED HIMSELF. 1379 01:19:00,587 --> 01:19:03,321 MAN AS HEMINGWAY: OH, LET THEM COME, HE SAID. 1380 01:19:03,354 --> 01:19:05,954 {\an1}I DON'T WANT TO DO THAT BUSINESS THAT MY FATHER DID. 1381 01:19:08,354 --> 01:19:11,354 {\an1}I WILL DO IT ALL RIGHT BUT I'D MUCH PREFER NOT TO HAVE TO. 1382 01:19:11,387 --> 01:19:15,421 I'M AGAINST THAT. DON'T THINK ABOUT THAT. 1383 01:19:15,454 --> 01:19:17,054 {\an1}DON'T THINK AT ALL. 1384 01:19:18,721 --> 01:19:21,187 {\an1}I WISH THE BASTARDS WOULD COME, HE SAID. 1385 01:19:21,221 --> 01:19:23,554 {\an1}I WISH SO VERY MUCH THEY'D COME. 1386 01:19:25,521 --> 01:19:27,887 {\an1}I GUESS I'M NOT AWFULLY GOOD AT PAIN. 1387 01:19:27,921 --> 01:19:29,421 {\an1}LISTEN, IF I DO THAT NOW 1388 01:19:29,454 --> 01:19:32,654 {\an1}YOU WOULDN'T MISUNDERSTAND, WOULD YOU? 1389 01:19:32,687 --> 01:19:37,087 {\an1}WHO ARE YOU TALKING TO? NOBODY, HE SAID. 1390 01:19:37,121 --> 01:19:41,787 {\an1}GRANDFATHER, I GUESS. NO. NOBODY. 1391 01:19:44,521 --> 01:19:47,521 {\an7}THINK ABOUT MONTANA. I CAN'T. 1392 01:19:47,554 --> 01:19:51,087 {\an7}THINK ABOUT MADRID. I CAN'T. 1393 01:19:51,121 --> 01:19:53,921 {\an8}THINK ABOUT A COOL DRINK OF WATER. 1394 01:19:53,954 --> 01:19:57,921 {\an8}ALL RIGHT. THAT'S WHAT IT WILL BE LIKE. 1395 01:19:57,954 --> 01:20:00,087 {\an1}LIKE A COOL DRINK OF WATER. 1396 01:20:01,654 --> 01:20:06,087 {\an8}YOU'RE A LIAR. IT WILL JUST BE NOTHING. 1397 01:20:06,121 --> 01:20:09,521 {\an7}THAT'S ALL IT WILL BE. JUST NOTHING. 1398 01:20:09,554 --> 01:20:16,121 {\an8}THEN DO IT. DO IT. DO IT NOW. 1399 01:20:16,154 --> 01:20:19,054 {\an7}IT'S ALL RIGHT TO DO IT NOW. 1400 01:20:19,087 --> 01:20:25,221 {\an1}GO ON AND DO IT NOW. NO, YOU HAVE TO WAIT. 1401 01:20:25,254 --> 01:20:30,321 WHAT FOR? YOU KNOW ALL RIGHT. THEN WAIT. 1402 01:20:35,821 --> 01:20:38,354 {\an1}NARRATOR: WHEN "FOR WHOM THE BELL TOLLS" WAS PUBLISHED, 1403 01:20:38,387 --> 01:20:40,621 MARXIST CRITICS ATTACKED THE NOVEL 1404 01:20:40,654 --> 01:20:42,521 {\an1}AS A BETRAYAL OF THEIR CAUSE 1405 01:20:42,554 --> 01:20:47,954 {\an1}BECAUSE IT SHOWED SYMPATHY FOR THE WAR'S VICTIMS ON BOTH SIDES. 1406 01:20:47,987 --> 01:20:51,954 {\an1}OTHERS FOUND THE LOVE AFFAIR BETWEEN ROBERT JORDAN AND MARIA, 1407 01:20:51,987 --> 01:20:55,721 A LOYALIST GUERILLA FIGHTER, CLOYING. 1408 01:20:55,754 --> 01:20:57,787 {\an7}[VARGAS LLOSA SPEAKING SPANISH] 1409 01:21:25,421 --> 01:21:27,821 {\an8}[LAUGHS] 1410 01:21:27,854 --> 01:21:30,321 {\an1}NARRATOR: DESPITE SOME NEGATIVE REVIEWS, 1411 01:21:30,354 --> 01:21:33,921 THE NOVEL SOLD "LIKE FROZEN DAIQUIRIS IN HELL," 1412 01:21:33,954 --> 01:21:37,654 {\an1}HEMINGWAY BOASTED TO HIS FIRST WIFE HADLEY; 1413 01:21:37,687 --> 01:21:41,454 {\an1}NEARLY HALF A MILLION COPIES IN LESS THAN 6 MONTHS. 1414 01:21:41,487 --> 01:21:45,621 {\an1}ONLY "GONE WITH THE WIND" HAD SOLD FASTER. 1415 01:21:45,654 --> 01:21:49,787 {\an1}"HEMINGWAY THE ARTIST IS WITH US AGAIN," EDMUND WILSON WROTE, 1416 01:21:49,821 --> 01:21:53,387 {\an1}"AND IT IS LIKE HAVING AN OLD FRIEND BACK." 1417 01:21:53,421 --> 01:21:55,954 PARAMOUNT BOUGHT THE MOVIE RIGHTS. 1418 01:21:55,987 --> 01:21:57,554 {\an1}"THE NEW YORK TIMES" DECLARED IT 1419 01:21:57,587 --> 01:22:00,154 THE FINEST BOOK HEMINGWAY HAD WRITTEN... 1420 01:22:00,187 --> 01:22:04,654 "THE FULLEST, THE DEEPEST, THE TRUEST." 1421 01:22:04,687 --> 01:22:06,387 {\an7}KATAKIS: I LOVE THAT BOOK. I MEAN, 1422 01:22:06,421 --> 01:22:09,754 {\an7}IT'S THE "RAIDERS OF THE LOST ARK" OF ITS TIME... 1423 01:22:09,787 --> 01:22:12,987 {\an8}AH... ONLY WITH MORE DEPTH AND MEANING. 1424 01:22:13,021 --> 01:22:15,821 SOMEONE WHO IS SACRIFICING HIMSELF 1425 01:22:15,854 --> 01:22:19,421 {\an1}FOR SOMETHING HE BELIEVES IN. 1426 01:22:19,454 --> 01:22:23,487 {\an1}McCAIN: FRIENDSHIP, SACRIFICE, ROMANCE, 1427 01:22:23,521 --> 01:22:26,854 {\an1}THAT NOTHING IS ROMANTIC AS THAT, UH, 1428 01:22:26,887 --> 01:22:29,554 {\an1}BETWEEN ROBERT JORDAN AND MARIA IN THAT, UH, 1429 01:22:29,587 --> 01:22:32,054 {\an1}IN THAT, UH, BOOK, 1430 01:22:32,087 --> 01:22:36,421 {\an1}AND, I THINK, SERVING A CAUSE GREATER THAN YOURSELF. 1431 01:22:36,454 --> 01:22:38,087 {\an1}I THINK THE IMPORTANT LESSON 1432 01:22:38,121 --> 01:22:41,921 {\an1}THAT HEMINGWAY WAS TRYING TO IMPART TO US 1433 01:22:41,954 --> 01:22:44,987 {\an1}THAT NO MAN IS AN ISLAND WITHIN HIMSELF. 1434 01:22:45,021 --> 01:22:46,921 {\an1}ASK NOT FOR WHOM THE BELL TOLLS. 1435 01:22:48,554 --> 01:22:53,887 {\an1}WE DO IN LIFE WHAT WE ARE RESPONSIBLE FOR. 1436 01:22:53,921 --> 01:22:56,921 WE, IN OUR LIVES, MAKE CERTAIN CHOICES. 1437 01:22:58,521 --> 01:22:59,930 {\an1}"I HAVE FOUGHT HARD FOR WHAT I BELIEVED IN 1438 01:22:59,954 --> 01:23:01,687 "FOR A YEAR NOW. 1439 01:23:01,721 --> 01:23:05,121 "IF WE WIN HERE WE WILL WIN EVERYWHERE. 1440 01:23:05,154 --> 01:23:09,121 {\an1}"THE WORLD IS A FINE PLACE AND WORTH THE FIGHTING FOR 1441 01:23:09,154 --> 01:23:12,087 {\an1}AND I HATE VERY MUCH TO LEAVE IT." 1442 01:23:16,754 --> 01:23:19,314 {\an1}[J. GREEN, E. HEYMAN, R. SOUR, F. EYTON'S "BODY AND SOUL" PLAYING] 1443 01:23:21,321 --> 01:23:22,397 MAN AS HEMINGWAY: IF YOU HAVE DECIDED THAT YOU 1444 01:23:22,421 --> 01:23:23,854 {\an1}DON'T WANT TO MARRY ME, 1445 01:23:23,887 --> 01:23:25,921 {\an1}WILL YOU PLEASE TELL ME NOW. 1446 01:23:30,487 --> 01:23:33,121 {\an1}IF YOU DO, I WILL BORE YOU LESS 1447 01:23:33,154 --> 01:23:34,554 {\an1}AND AMUSE YOU MORE 1448 01:23:34,587 --> 01:23:37,354 THAN ANYONE ELSE YOU'LL EVER MARRY 1449 01:23:37,387 --> 01:23:39,554 {\an1}AND YOU HAVE NEVER SEEN ME WITH A BIG SUCCESS 1450 01:23:39,587 --> 01:23:41,754 {\an1}BUT I HAVE BEEN AROUND WHEN THAT HAPPENED BEFORE 1451 01:23:41,787 --> 01:23:44,121 {\an1}AND I CAN PROMISE YOU TRULY THAT YOU WILL SEE 1452 01:23:44,154 --> 01:23:49,054 {\an1}THE MODESTEST SON OF A BITCH YOU EVER SAW TRULY. 1453 01:23:49,087 --> 01:23:51,987 {\an1}I ONLY BRAG WHEN I AM ON MY ASS. 1454 01:23:53,454 --> 01:23:56,454 {\an1}WOMAN AS GELLHORN: THERE IS MUCH DIVORCE TALK GOING ON, 1455 01:23:56,487 --> 01:23:59,887 {\an1}AND PROBABLY IT WILL ACTUALLY MATERIALIZE IN DUE COURSE 1456 01:23:59,921 --> 01:24:02,187 {\an1}AND I WILL BE MADE AN HONEST WOMAN. 1457 01:24:02,221 --> 01:24:04,387 {\an1}THEY OUGHT TO PUT IT IN THE YEARBOOK: 1458 01:24:04,421 --> 01:24:08,021 {\an1}GELLHORN, THE FIRST OF HER CLASS TO SIN, 1459 01:24:08,054 --> 01:24:10,721 {\an1}THE LAST TO LEGALIZE. 1460 01:24:12,254 --> 01:24:13,894 {\an1}NARRATOR: HEMINGWAY'S DIVORCE FROM PAULINE 1461 01:24:13,921 --> 01:24:18,221 BECAME FINAL ON NOVEMBER 4, 1940. 1462 01:24:18,254 --> 01:24:21,521 {\an1}17 DAYS LATER, ON NOVEMBER 21, 1463 01:24:21,554 --> 01:24:23,487 ERNEST HEMINGWAY AND MARTHA GELLHORN 1464 01:24:23,521 --> 01:24:26,987 WERE MARRIED IN CHEYENNE, WYOMING. 1465 01:24:27,021 --> 01:24:31,187 SHE WAS 32. HE WAS 41. 1466 01:24:31,221 --> 01:24:33,787 {\an1}"ERNEST AND I BELONG TIGHTLY TO EACH OTHER," 1467 01:24:33,821 --> 01:24:36,854 MARTHA ASSURED ELEANOR ROOSEVELT. 1468 01:24:36,887 --> 01:24:38,821 {\an1}"WE ARE A GOOD PAIR AND WE ARE 1469 01:24:38,854 --> 01:24:42,154 {\an1}BOTH CRAZY ABOUT BEING MARRIED." 1470 01:24:42,187 --> 01:24:45,621 NOW BOTH OF THEM WERE IN THE SPOTLIGHT. 1471 01:24:47,987 --> 01:24:50,621 {\an1}HEDDA HOPPER: NO FANCY HOLLYWOOD BOOTS THESE. 1472 01:24:50,654 --> 01:24:52,887 {\an1}THEY'VE TRAMPED THROUGH THE DUST AND DEATH 1473 01:24:52,921 --> 01:24:55,054 {\an1}OF THE SPANISH CIVIL WAR. 1474 01:24:55,087 --> 01:24:56,297 {\an1}THEY BELONG TO ERNEST HEMINGWAY, 1475 01:24:56,321 --> 01:24:57,821 {\an1}FAMOUS AUTHOR AND ADVENTURER, 1476 01:24:57,854 --> 01:24:59,387 {\an1}NOW ON A HUNTING TRIP IN IDAHO 1477 01:24:59,421 --> 01:25:01,454 {\an1}WITH HIS PAL GARY COOPER, 1478 01:25:01,487 --> 01:25:04,554 {\an1}TO WHOM THE GREAT OPEN SPACES AREN'T JUST A MOVIE LOCATION. 1479 01:25:04,587 --> 01:25:07,054 NO SIR. GARY'S IDEA OF A VACATION 1480 01:25:07,087 --> 01:25:10,654 {\an1}IS TO GET AS FAR AWAY FROM HOLLYWOOD BOULEVARD AS POSSIBLE, 1481 01:25:10,687 --> 01:25:13,621 {\an1}WHERE GAME DOESN'T MEAN GIN RUMMY. 1482 01:25:15,621 --> 01:25:16,887 [GUNSHOTS] 1483 01:25:18,387 --> 01:25:20,221 {\an1}HER PEN NAME IS MARTHA GELLHORN, 1484 01:25:20,254 --> 01:25:23,254 {\an1}BUT IN PRIVATE LIFE SHE'S MRS. ERNEST HEMINGWAY. 1485 01:25:23,287 --> 01:25:24,721 [GUNSHOT] 1486 01:25:24,754 --> 01:25:27,721 MRS. HEMINGWAY IS AN EXPERT MARKSWOMAN. 1487 01:25:29,121 --> 01:25:30,687 {\an1}THE HEMINGWAYS FIRST MET IN SPAIN, 1488 01:25:30,721 --> 01:25:32,921 {\an1}WHERE MRS. HEMINGWAY WAS A WAR CORRESPONDENT 1489 01:25:32,954 --> 01:25:34,654 AND ERNEST WAS GATHERING MATERIAL 1490 01:25:34,687 --> 01:25:36,987 FOR HIS NOVEL "FOR WHOM THE BELL TOLLS." 1491 01:25:39,887 --> 01:25:42,654 {\an1}NARRATOR: IN 1941, THE NEWLYWED HEMINGWAYS 1492 01:25:42,687 --> 01:25:46,821 {\an1}EMBARKED ON A PECULIAR SORT OF EXTENDED HONEYMOON, 1493 01:25:46,854 --> 01:25:49,654 A 4-MONTH REPORTING TRIP TO CHINA, 1494 01:25:49,687 --> 01:25:54,154 {\an1}WHERE WAR WITH JAPAN HAD BEEN RAGING FOR 5 YEARS. 1495 01:25:54,187 --> 01:25:57,087 {\an1}ON THE WAY, THE COUPLE HAD STOPPED IN HONOLULU, 1496 01:25:57,121 --> 01:26:01,287 {\an1}WHERE THEY TOURED THE VAST NAVAL BASE AT PEARL HARBOR. 1497 01:26:01,321 --> 01:26:04,787 {\an1}HEMINGWAY WORRIED ALOUD THAT SO MANY WARSHIPS AND PLANES 1498 01:26:04,821 --> 01:26:09,721 {\an1}LINED UP IN TIDY ROWS WOULD INVITE A JAPANESE ATTACK. 1499 01:26:11,821 --> 01:26:14,954 {\an1}HEMINGWAY HAD AGREED TO REPORT SECRETLY TO WASHINGTON 1500 01:26:14,987 --> 01:26:19,087 {\an1}ON HOW HE THOUGHT THE WAR IN CHINA WAS GOING. 1501 01:26:19,121 --> 01:26:22,354 {\an1}HE ALSO AGREED TO ACT AS A SECRET OPERATIVE 1502 01:26:22,387 --> 01:26:25,321 {\an1}FOR THE SOVIET UNION, THOUGH IN THE END 1503 01:26:25,354 --> 01:26:30,087 HE WOULD SUPPLY NO INFORMATION TO MOSCOW. 1504 01:26:30,121 --> 01:26:31,487 [PLANE WHOOSHING] 1505 01:26:36,787 --> 01:26:38,821 {\an1}[AIR RAID SIREN BLARING] 1506 01:26:40,621 --> 01:26:43,321 {\an1}NARRATOR: THE WORLD WAR HEMINGWAY HAD WARNED AGAINST, 1507 01:26:43,354 --> 01:26:47,087 {\an1}AND HAD HOPED HIS COUNTRY COULD AVOID, HAD COME HOME. 1508 01:26:47,121 --> 01:26:51,287 {\an1}4 DAYS AFTER PEARL HARBOR, NAZI GERMANY AND FASCIST ITALY 1509 01:26:51,321 --> 01:26:54,154 DECLARED WAR ON THE UNITED STATES. 1510 01:26:55,321 --> 01:26:58,421 {\an1}DURING THE NEXT 8 MONTHS, GERMAN U-BOATS SANK 1511 01:26:58,454 --> 01:27:04,521 {\an1}360 MERCHANT VESSELS IN THE GULF OF MEXICO, THE CARIBBEAN, 1512 01:27:04,554 --> 01:27:07,621 {\an1}AND OFF THE EASTERN COAST OF THE UNITED STATES. 1513 01:27:09,887 --> 01:27:14,554 {\an1}WASHINGTON CALLED UPON CIVILIANS TO HELP PATROL THOSE WATERS. 1514 01:27:14,587 --> 01:27:18,854 {\an1}THE SHIPPING LANES AROUND CUBA WERE OF SPECIAL CONCERN. 1515 01:27:21,387 --> 01:27:23,721 {\an1}HEMINGWAY VOLUNTEERED TO HELP 1516 01:27:23,754 --> 01:27:25,687 {\an1}AND GATHERED ABOARD THE "PILAR" 1517 01:27:25,721 --> 01:27:28,287 {\an1}WHAT HE CALLED HIS "HOOLIGAN NAVY"... 1518 01:27:28,321 --> 01:27:32,021 {\an1}A MARINE SERGEANT, TWO MILLIONAIRE YACHTSMEN, 1519 01:27:32,054 --> 01:27:34,721 A VETERAN OF THE SPANISH CIVIL WAR, 1520 01:27:34,754 --> 01:27:38,187 {\an1}AND SEVERAL ACTIVE JAI-ALAI PLAYERS... 1521 01:27:38,221 --> 01:27:43,054 AND THEN PROPOSED A SPECTACULARLY FAR-FETCHED SCHEME. 1522 01:27:43,087 --> 01:27:47,021 HE HOPED TO LURE ENEMY U-BOATS TO THE SURFACE, 1523 01:27:47,054 --> 01:27:49,354 {\an1}CLOSE TO WITHIN 20 YARDS, 1524 01:27:49,387 --> 01:27:51,121 {\an1}MACHINE-GUN EVERYONE ON DECK 1525 01:27:51,154 --> 01:27:52,887 {\an1}SO THAT THE JAI-ALAI PLAYERS 1526 01:27:52,921 --> 01:27:56,654 {\an1}COULD LOB EXPLOSIVES DOWN THE HATCH. 1527 01:27:56,687 --> 01:28:00,187 {\an1}HOW THE "PILAR" WAS TO AVOID BEING BLOWN TO SPLINTERS 1528 01:28:00,221 --> 01:28:03,354 {\an1}BY THE GERMANS' DECK GUN WAS NEVER CLEAR, 1529 01:28:03,387 --> 01:28:05,554 {\an1}BUT THE U.S. GOVERNMENT SUPPLIED HEMINGWAY 1530 01:28:05,587 --> 01:28:08,387 {\an1}WITH ALL THE WEAPONRY AND COMMUNICATIONS EQUIPMENT 1531 01:28:08,421 --> 01:28:11,287 {\an1}HE ASKED FOR... AND LIMITLESS, 1532 01:28:11,321 --> 01:28:15,887 {\an1}OTHERWISE STRICTLY-RATIONED GASOLINE. 1533 01:28:15,921 --> 01:28:18,954 {\an1}PATRICK: HE HAD US ON HIS BOAT, THE "PILAR," 1534 01:28:18,987 --> 01:28:22,987 {\an1}OFF THE CUBAN COAST IN A PLACE CALLED CAYO CONFITES. 1535 01:28:23,021 --> 01:28:26,054 {\an1}THERE WERE TWO BUNKS THERE, ONE ON EACH SIDE 1536 01:28:26,087 --> 01:28:29,221 {\an1}AND A LITTLE HATCH THAT YOU COULD GET OUT OF. 1537 01:28:29,254 --> 01:28:32,554 {\an1}AND THEY LEFT US ON THE ISLAND. 1538 01:28:32,587 --> 01:28:33,987 WHAT DO THEY CALL THE PEOPLE THAT 1539 01:28:34,021 --> 01:28:35,721 {\an1}LOOK AFTER THE WELFARE OF CHILDREN? 1540 01:28:35,754 --> 01:28:37,121 {\an7}THEY WOULD HAVE TAKEN US AWAY 1541 01:28:37,154 --> 01:28:41,221 {\an7}FROM OUR FATHER IMMEDIATELY. [LAUGHS] 1542 01:28:41,254 --> 01:28:43,621 {\an1}NARRATOR: HEMINGWAY AND HIS CREW DID KEEP WATCH 1543 01:28:43,654 --> 01:28:48,821 {\an1}ON THE COUNTLESS BAYS AND INLETS AND ISLANDS ALONG CUBA'S COAST. 1544 01:28:48,854 --> 01:28:51,587 {\an1}ONLY ONCE IN ALL THAT TIME DID THE "PILAR" 1545 01:28:51,621 --> 01:28:54,621 ACTUALLY SPOT AN ENEMY SUBMARINE, 1546 01:28:54,654 --> 01:28:59,587 {\an1}BUT IT PROVED FAR TOO FAST AND FAR AWAY TO CATCH. 1547 01:28:59,621 --> 01:29:03,021 {\an1}HEMINGWAY HIMSELF WOULD REMEMBER HIS SUBMARINE-CHASING 1548 01:29:03,054 --> 01:29:07,854 {\an1}AS THAT "SEA-BORNE COMIC STRIP WE OPERATED IN THE CARIBBEAN." 1549 01:29:11,687 --> 01:29:13,847 {\an1}[DAVID CIERI'S "FOR CATHERINE (NIAGARA FALLS)" PLAYING] 1550 01:29:22,454 --> 01:29:23,421 EDNA O'BRIEN: I BET WHEN HEMINGWAY WAS 1551 01:29:23,454 --> 01:29:24,454 {\an1}FIRST IN LOVE WITH 1552 01:29:24,487 --> 01:29:25,987 {\an1}EACH PARTICULAR WOMAN, 1553 01:29:26,021 --> 01:29:28,187 {\an1}I BET HE BECAME THE BOY AGAIN. 1554 01:29:29,454 --> 01:29:33,587 {\an1}BUT HE WAS A BIT OF A CONTROLLER IN LIFE 1555 01:29:33,621 --> 01:29:36,087 {\an1}AND A BIT OF A BULLY AS WELL. 1556 01:29:36,121 --> 01:29:41,454 {\an1}SO THAT EVERYDAY LIFE WITH HEMINGWAY WOULD BE INTOLERABLE. 1557 01:29:41,487 --> 01:29:46,421 {\an7}IT WAS, I THINK, HE LOVED AS A TRUTHFUL PERSON AT FIRST 1558 01:29:46,454 --> 01:29:52,987 {\an7}AND THEN BECAME THE MYTHOLOGIZED MAN IN EVERYDAY LIFE. 1559 01:29:53,021 --> 01:29:56,654 {\an1}WOMAN AS GELLHORN: THE ONLY SERIOUS COMPLAINT I HAVE ABOUT MATRIMONY 1560 01:29:56,687 --> 01:30:00,254 {\an1}IS THAT IT BRINGS OUT THE FAINT GOODNESS IN ME, 1561 01:30:00,287 --> 01:30:03,921 {\an1}AND HAS A TENDENCY TO SOFTEN AND QUIET 1562 01:30:03,954 --> 01:30:06,187 {\an1}THE HELL ON WHEELS ASPECT, 1563 01:30:06,221 --> 01:30:09,254 {\an1}AND FINALLY I BECOME BORED WITH MYSELF. 1564 01:30:09,287 --> 01:30:13,421 [GUNSHOT] MY MAN IS ANOTHER HELL ON WHEELS CHARACTER, 1565 01:30:13,454 --> 01:30:16,087 {\an1}AND WHAT IS SO CHRISTED ODD IS THAT 1566 01:30:16,121 --> 01:30:18,187 {\an1}TWO PEOPLE CANNOT LIVE TOGETHER, 1567 01:30:18,221 --> 01:30:20,021 {\an1}WITH ANY ORDER OR HEALTH, 1568 01:30:20,054 --> 01:30:23,521 {\an1}IF THEY ARE BOTH HELL ON WHEELS, 1569 01:30:23,554 --> 01:30:28,287 {\an1}SO, FOR THE MUTUAL GOOD, THEY MUST BOTH CALM THEMSELVES. 1570 01:30:28,321 --> 01:30:31,987 {\an1}AND THAT IS A LOSS, BUT I HAVE NOT YET FOUND OUT 1571 01:30:32,021 --> 01:30:34,387 {\an1}WHAT TO DO ABOUT IT. 1572 01:30:34,421 --> 01:30:39,454 {\an1}ERNEST AND I REALLY ARE AFRAID OF EACH OTHER, 1573 01:30:39,487 --> 01:30:41,021 {\an1}EACH ONE KNOWING THAT THE OTHER 1574 01:30:41,054 --> 01:30:44,321 {\an1}IS THE MOST VIOLENT PERSON EITHER ONE KNOWS, 1575 01:30:44,354 --> 01:30:47,387 {\an1}AND KNOWING SOMETHING ABOUT VIOLENCE WE ARE ALWAYS 1576 01:30:47,421 --> 01:30:51,954 {\an1}MUTUALLY ALARMED AT THE POTENTIALITIES OF THE OTHER. 1577 01:30:51,987 --> 01:30:56,354 {\an1}SO, WHEN WE ARE TOGETHER, WE TAKE IT FAIRLY EASY, 1578 01:30:56,387 --> 01:31:01,287 {\an1}SO AS NOT TO SEE THE OTHER BURST INTO LOUD, FURIOUS FLAME. 1579 01:31:04,087 --> 01:31:06,921 {\an1}NARRATOR: MARTHA GELLHORN HAD NO INTENTION OF STAYING HOME 1580 01:31:06,954 --> 01:31:09,787 {\an1}WITH HER HUSBAND AS PAULINE HAD. 1581 01:31:09,821 --> 01:31:12,821 AND AT FIRST, HE ENCOURAGED HER WORK. 1582 01:31:14,387 --> 01:31:17,021 {\an1}MAN AS HEMINGWAY: I CAN'T REALLY WRITE AT ALL THE WAY YOU CAN 1583 01:31:17,054 --> 01:31:20,187 {\an1}WELL AND EASILY AND GOOD. 1584 01:31:20,221 --> 01:31:22,854 {\an1}I JUST NAIL WORDS TOGETHER LIKE A BLOODY CARPENTER 1585 01:31:22,887 --> 01:31:25,054 {\an1}AND IT IS SO TOUGH TO DO. 1586 01:31:26,554 --> 01:31:29,554 YOU ARE MY HERO AND ALWAYS WILL BE 1587 01:31:29,587 --> 01:31:32,421 {\an1}AND I WILL BE GOOD AND TRY TO LIVE UP TO MY HERO. 1588 01:31:33,854 --> 01:31:37,387 {\an1}THANK YOU VERY MUCH FOR HAVING COME TO KEY WEST 1589 01:31:37,421 --> 01:31:39,321 {\an1}AND FOR HAVING MARRIED ME. 1590 01:31:40,854 --> 01:31:43,387 {\an1}NARRATOR: GELLHORN'S VIEW OF HERSELF AND HER TALENT 1591 01:31:43,421 --> 01:31:46,021 {\an1}WAS EVERY BIT AS EXALTED AS HER HUSBAND'S VIEW 1592 01:31:46,054 --> 01:31:48,354 {\an1}OF HIMSELF AND HIS. 1593 01:31:48,387 --> 01:31:51,187 {\an1}"WE TWO ARE GREAT PEOPLE," SHE ONCE TOLD HIM. 1594 01:31:51,221 --> 01:31:54,187 {\an1}"WE CAN SHAKE THE WORLD." 1595 01:31:54,221 --> 01:31:56,254 {\an1}BUT THE COUPLE FOUND IT HARD TO KEEP 1596 01:31:56,287 --> 01:31:59,221 THEIR VOLATILITY SMOTHERED FOR LONG. 1597 01:31:59,254 --> 01:32:02,587 {\an1}SHE BEGAN TO TRAVEL MORE AND MORE ON ASSIGNMENT 1598 01:32:02,621 --> 01:32:05,987 {\an1}AND HE BEGAN TO RESENT IT. 1599 01:32:06,021 --> 01:32:10,387 {\an1}BEEGEL: MARTHA WAS A WOMAN WHO WOULD NOT BACK DOWN. 1600 01:32:10,421 --> 01:32:11,787 {\an1}MARTHA WAS A WOMAN WHO COULD 1601 01:32:11,821 --> 01:32:14,721 GIVE AS GOOD AS SHE GOT VERBALLY. 1602 01:32:14,754 --> 01:32:18,087 {\an7}MARTHA WAS A WOMAN WHO HAD HER OWN LIFE THAT SHE WANTED TO LIVE 1603 01:32:18,121 --> 01:32:20,221 {\an7}AND CAREER SHE WANTED TO PURSUE 1604 01:32:20,254 --> 01:32:24,787 {\an8}AND NOBODY WAS TAKING THAT AWAY FROM HER. 1605 01:32:24,821 --> 01:32:26,787 {\an1}KALE: THEY WERE GREAT IN THE SPANISH CIVIL WAR 1606 01:32:26,821 --> 01:32:31,287 {\an1}WHERE THERE'S BULLETS AND, AND SHELLS FLYING EVERY WHICH WAY. 1607 01:32:31,321 --> 01:32:35,654 {\an7}BUT PUT 'EM TOGETHER IN A HOUSE AND IT WAS JUST A DISASTER. 1608 01:32:35,687 --> 01:32:37,721 [DAVID CIERI'S "DUST RISING" PLAYING] 1609 01:32:39,221 --> 01:32:40,763 {\an1}NARRATOR: AFTER GELLHORN RETURNED TO CUBA 1610 01:32:40,787 --> 01:32:42,921 {\an1}FROM A LENGTHY REPORTING TRIP, 1611 01:32:42,954 --> 01:32:45,421 {\an1}SHE WAS CONVINCED THAT HEMINGWAY'S ADVENTURING 1612 01:32:45,454 --> 01:32:48,354 {\an1}ABOARD THE "PILAR" WAS POINTLESS, 1613 01:32:48,387 --> 01:32:51,654 {\an1}JUST AN EXCUSE TO FISH AND DRINK WITH HIS FRIENDS 1614 01:32:51,687 --> 01:32:54,254 {\an1}WHILE THE REST OF THE WORLD WAS AT WAR, 1615 01:32:54,287 --> 01:32:57,654 {\an1}AND SHE DID NOT HESITATE TO SAY SO. 1616 01:32:57,687 --> 01:33:00,321 HE WAS, IN FACT, NOT WRITING AT ALL 1617 01:33:00,354 --> 01:33:02,987 AND WAS DRINKING MORE AND MORE HEAVILY, 1618 01:33:03,021 --> 01:33:06,421 {\an1}BEGINNING WITH A SCOTCH-AND-SODA AT 10 IN THE MORNING 1619 01:33:06,454 --> 01:33:08,654 {\an1}AND KEEPING AT IT ALL DAY. 1620 01:33:10,687 --> 01:33:12,487 {\an1}HE WAS ANGERED BY HER CRITICISM 1621 01:33:12,521 --> 01:33:16,587 AND NOW SOMETIMES DISMISSIVE OF HER WRITING. 1622 01:33:16,621 --> 01:33:19,154 "I'LL SHOW YOU, YOU CONCEITED BITCH," 1623 01:33:19,187 --> 01:33:22,354 ONE OF HIS SONS REMEMBERED HEARING HIM SHOUT. 1624 01:33:22,387 --> 01:33:24,487 {\an1}"THEY'LL BE READING MY STUFF LONG AFTER 1625 01:33:24,521 --> 01:33:27,054 THE WORMS HAVE FINISHED WITH YOU." 1626 01:33:29,487 --> 01:33:31,463 {\an1}BEEGEL: OF ALL OF HIS WIVES, HE HAD THE LEAST POWER 1627 01:33:31,487 --> 01:33:33,454 {\an1}AND THE LEAST CONTROL OVER MARTHA, 1628 01:33:33,487 --> 01:33:34,521 {\an1}SO, THAT WOULD, I THINK, 1629 01:33:34,554 --> 01:33:36,187 {\an1}TEND TO SEND THINGS 1630 01:33:36,221 --> 01:33:38,887 OVER THE TOP. 1631 01:33:38,921 --> 01:33:46,921 {\an1}VERBAL ABUSE STARTS WITH MARTHA AND HORRIBLE SLANGING MATCHES. 1632 01:33:47,721 --> 01:33:49,554 {\an1}NARRATOR: THEY HAD BEEN TOGETHER OFF AND ON 1633 01:33:49,587 --> 01:33:51,321 FOR 7 YEARS, 1634 01:33:51,354 --> 01:33:54,721 NEARLY 3 OF THEM AS HUSBAND AND WIFE. 1635 01:33:54,754 --> 01:33:57,287 {\an1}WHEN APART, THEIR LETTERS WERE STILL FULL OF 1636 01:33:57,321 --> 01:34:00,887 {\an1}FOND NICKNAMES AND DECLARATIONS OF LOVE. 1637 01:34:00,921 --> 01:34:02,254 {\an1}BUT WHEN THEY WERE TOGETHER, 1638 01:34:02,287 --> 01:34:05,021 {\an1}THINGS WENT FROM BAD TO WORSE. 1639 01:34:07,054 --> 01:34:10,021 {\an1}WHEN GELLHORN INSISTED ON DRIVING HOME FROM HAVANA 1640 01:34:10,054 --> 01:34:13,187 AT THE END OF ONE ESPECIALLY DRUNKEN EVENING, 1641 01:34:13,221 --> 01:34:15,221 {\an1}HEMINGWAY SLAPPED HER. 1642 01:34:15,254 --> 01:34:18,354 {\an1}SHE DELIBERATELY DROVE HIS CAR INTO A DITCH 1643 01:34:18,387 --> 01:34:22,854 {\an1}AND LEFT HIM THERE WHILE SHE WALKED BACK TO THE FINCA ALONE. 1644 01:34:52,087 --> 01:34:54,287 {\an1}BY THE SUMMER OF 1943, 1645 01:34:54,321 --> 01:34:58,121 {\an1}THE TIDE OF WAR IN EUROPE HAD BEGUN TO TURN. 1646 01:34:58,154 --> 01:34:59,654 {\an1}THE GERMANS AND ITALIANS 1647 01:34:59,687 --> 01:35:03,021 HAD BEEN DRIVEN FROM NORTH AFRICA. 1648 01:35:03,054 --> 01:35:07,021 ALLIED TROOPS HAD LANDED IN ITALY. 1649 01:35:07,054 --> 01:35:09,054 {\an1}THE SOVIET ARMY WAS MOVING WEST, 1650 01:35:09,087 --> 01:35:11,954 {\an1}DRIVING THE NAZI INVADERS BEFORE THEM. 1651 01:35:14,221 --> 01:35:16,354 {\an1}GELLHORN LONGED TO BE PART OF IT... 1652 01:35:16,387 --> 01:35:18,687 {\an1}AND COULD NOT UNDERSTAND HOW HEMINGWAY 1653 01:35:18,721 --> 01:35:21,287 {\an1}DID NOT FEEL THE SAME WAY. 1654 01:35:21,321 --> 01:35:23,554 {\an1}SHE TOLD HIM SHE WANTED TO FEEL AGAIN 1655 01:35:23,587 --> 01:35:26,621 {\an1}ALL "THE BLINDNESS AND FERVOR AND RECKLESSNESS" 1656 01:35:26,654 --> 01:35:28,587 {\an1}SHE HAD ONCE FELT WITH HIM. 1657 01:35:30,621 --> 01:35:33,587 {\an1}IN SEPTEMBER, SHE LEFT FOR ENGLAND WITHOUT HIM, 1658 01:35:33,621 --> 01:35:35,821 {\an1}TO REPORT FOR "COLLIER'S." 1659 01:35:35,854 --> 01:35:40,354 {\an1}HEMINGWAY WAS ANGRY, MOROSE, BEREFT. 1660 01:35:40,387 --> 01:35:42,830 {\an1}[JOHNNY GANDELSMAN'S "FLOR DE LA NOCHE MIRANDO A LAS ESTRELLAS MIX 2" PLAYING] 1661 01:35:42,854 --> 01:35:44,597 {\an1}WOMAN AS GELLHORN: THE LETTER WHERE YOU SAY THAT THESE ARE 1662 01:35:44,621 --> 01:35:47,287 {\an1}THE WORST TWO WEEKS OF YOUR LIFE 1663 01:35:47,321 --> 01:35:52,821 {\an1}AND THAT YOU FEEL YOU ARE GOING TO DIE OF SADNESS IS TOO AWFUL. 1664 01:35:52,854 --> 01:35:56,654 {\an1}YOU MATTER MORE THAN ANYTHING IN THE WORLD TO ME. 1665 01:35:56,687 --> 01:35:58,821 I CAN'T HAVE YOU DYING OF SADNESS. 1666 01:35:58,854 --> 01:36:01,554 {\an1}I JUST CAN'T BE PARTY TO THAT. 1667 01:36:01,587 --> 01:36:04,821 {\an1}IF YOU SEE THAT YOU TRULY CANNOT BEAR IT, 1668 01:36:04,854 --> 01:36:06,787 I'LL COME HOME. 1669 01:36:09,454 --> 01:36:11,687 {\an1}NARRATOR: BUT SHE DIDN'T COME HOME. 1670 01:36:11,721 --> 01:36:14,054 {\an1}WHEN "COLLIER'S" PUBLISHED MARTHA'S DISPATCHES 1671 01:36:14,087 --> 01:36:15,887 {\an1}FROM THE ITALIAN FRONT, 1672 01:36:15,921 --> 01:36:18,321 {\an1}HEMINGWAY PUBLICLY PRAISED THEM. 1673 01:36:18,354 --> 01:36:21,054 {\an1}"YOU FEEL IT AS THOUGH IT WERE YOU," HE SAID, 1674 01:36:21,087 --> 01:36:22,721 {\an1}"AND YOU WERE THERE." 1675 01:36:24,254 --> 01:36:26,421 {\an1}BUT SHE REMEMBERED RECEIVING AN ANGRY CABLE 1676 01:36:26,454 --> 01:36:28,521 {\an1}FROM HER HUSBAND IN CUBA: 1677 01:36:28,554 --> 01:36:32,421 {\an1}"ARE YOU A WAR CORRESPONDENT OR WIFE IN MY BED?" 1678 01:36:33,921 --> 01:36:37,421 {\an1}MARTHA HOPED SHE COULD SOMEHOW STILL BE BOTH. 1679 01:36:37,454 --> 01:36:39,621 {\an1}"IT IS QUITE A JOB BEING A WOMAN, ISN'T IT?" 1680 01:36:39,654 --> 01:36:41,887 {\an1}SHE WROTE TO MRS. ROOSEVELT. 1681 01:36:41,921 --> 01:36:44,287 {\an1}"YOU CANNOT DO YOUR WORK AND SIMPLY GET ON WITH IT 1682 01:36:44,321 --> 01:36:45,887 {\an1}"BECAUSE THAT IS SELFISH. 1683 01:36:45,921 --> 01:36:48,321 YOU HAVE TO BE TWO THINGS AT ONCE." 1684 01:36:50,621 --> 01:36:54,421 {\an1}AGAIN AND AGAIN, HEMINGWAY BEGGED HER TO RETURN TO CUBA. 1685 01:36:54,454 --> 01:37:00,321 {\an1}AGAIN AND AGAIN, SHE URGED HIM TO JOIN HER IN LONDON INSTEAD. 1686 01:37:00,354 --> 01:37:04,654 {\an1}HE REFUSED TO DO IT. FINALLY, SHE GAVE UP TRYING. 1687 01:37:06,887 --> 01:37:08,921 {\an1}WOMAN AS GELLHORN: I LOVE YOU DEARLY. 1688 01:37:08,954 --> 01:37:11,854 I WON'T URGE YOU ANY MORE TO COME, 1689 01:37:11,887 --> 01:37:14,021 THOUGH I DO THINK YOU WILL REGRET IT 1690 01:37:14,054 --> 01:37:16,587 {\an1}AND I THINK IT WOULD BE A GREAT GENERAL LOSS 1691 01:37:16,621 --> 01:37:18,187 {\an1}FOR FUTURE TIME, FOR ALL PEOPLE 1692 01:37:18,221 --> 01:37:21,354 {\an1}WHO NEED AND LOVE TO READ. 1693 01:37:21,387 --> 01:37:24,687 I KNOW IT IS HELL FOR YOU THERE ALONE 1694 01:37:24,721 --> 01:37:27,254 {\an1}BUT I HAVE TO ASK YOU TO BE PATIENT. 1695 01:37:27,287 --> 01:37:31,154 {\an1}YOU HAVE A LIFE THERE BECAUSE YOU HAVE USEFUL WORK; 1696 01:37:31,187 --> 01:37:34,954 {\an1}IT IS WHAT YOU BELIEVE IN AND FEEL RIGHT ABOUT DOING. 1697 01:37:36,654 --> 01:37:39,421 BUT I BELIEVE IN WHAT I AM DOING, TOO. 1698 01:37:39,454 --> 01:37:41,921 {\an1}I HAVE TO LIVE MY WAY AS WELL AS YOURS, 1699 01:37:41,954 --> 01:37:45,654 {\an1}OR THERE WOULDN'T BE ANY ME TO LOVE YOU WITH. 1700 01:37:45,687 --> 01:37:49,154 {\an1}YOU WOULDN'T REALLY WANT ME IF I BUILT A FINE BIG STONE WALL 1701 01:37:49,187 --> 01:37:51,687 {\an1}AROUND THE FINCA AND SAT INSIDE IT. 1702 01:37:54,321 --> 01:37:57,654 {\an1}NARRATOR: THAT WAS EXACTLY WHAT HE DID WANT HER TO DO. 1703 01:37:57,687 --> 01:38:01,654 {\an1}DEPRESSION GRIPPED HIM... HE CALLED IT "BLACK ASS." 1704 01:38:01,687 --> 01:38:04,154 {\an1}FEELING ABANDONED, WITH NO WRITING PROJECT 1705 01:38:04,187 --> 01:38:06,321 {\an1}IN WHICH TO LOSE HIMSELF, 1706 01:38:06,354 --> 01:38:08,721 {\an1}THE DREAD OF SLEEPING ALONE THAT HAD PLAGUED HIM 1707 01:38:08,754 --> 01:38:13,221 {\an1}SINCE HIS RETURN FROM THE GREAT WAR DEEPENED. 1708 01:38:13,254 --> 01:38:15,821 HE NOW HAD TO DRINK HIMSELF TO SLEEP... 1709 01:38:15,854 --> 01:38:18,721 {\an1}AND WAS CONSUMED WITH SELF-PITY. 1710 01:38:20,421 --> 01:38:22,921 {\an1}MAN AS HEMINGWAY: I AM SICK-LONELY WITH MARTY AWAY. 1711 01:38:24,387 --> 01:38:27,054 {\an1}LIKE SOMEBODY WITH THEIR HEART CUT OUT. 1712 01:38:27,087 --> 01:38:29,687 {\an1}LOVED MARTY SO MUCH AND TO THE EXCLUSION OF 1713 01:38:29,721 --> 01:38:32,787 {\an1}EVERYTHING AND ALL ELSE SO THAT 1714 01:38:32,821 --> 01:38:36,387 {\an1}EVERYBODY WHO USED TO LOVE ME QUIT. 1715 01:38:36,421 --> 01:38:40,954 {\an1}SO, NOW I HAVE NO MARTY AND NOBODY ELSE. 1716 01:38:42,721 --> 01:38:46,187 {\an1}NARRATOR: IN EARLY 1944, MARTHA RETURNED TO CUBA, 1717 01:38:46,221 --> 01:38:48,921 HOPING SOMEHOW TO REASSURE HER HUSBAND 1718 01:38:48,954 --> 01:38:51,387 {\an1}AND REBUILD THEIR MARRIAGE. 1719 01:38:51,421 --> 01:38:52,887 IT DIDN'T WORK. 1720 01:38:54,721 --> 01:38:58,221 {\an1}WOMAN AS GELLHORN: HE WOKE ME WHEN I WAS TRYING TO SLEEP 1721 01:38:58,254 --> 01:39:01,587 {\an1}TO BULLY, SNARL, MOCK. 1722 01:39:01,621 --> 01:39:05,821 {\an1}MY CRIME REALLY WAS TO HAVE BEEN AT WAR WHEN HE HAD NOT, 1723 01:39:05,854 --> 01:39:08,421 {\an1}BUT THAT WAS NOT HOW HE PUT IT. 1724 01:39:08,454 --> 01:39:13,387 {\an1}I WAS SUPPOSEDLY INSANE, I HAD NO RESPONSIBILITY TO ANYONE, 1725 01:39:13,421 --> 01:39:16,487 {\an1}I WAS SELFISH BEYOND BELIEF. 1726 01:39:18,654 --> 01:39:20,954 {\an1}NARRATOR: SHE ASSAILED HIM AGAIN FOR HIS DRINKING, 1727 01:39:20,987 --> 01:39:23,387 {\an1}RIDICULED HIS SUBMARINE HUNTING, 1728 01:39:23,421 --> 01:39:27,854 {\an1}ACCUSED HIM OF COWARDICE IN STAYING AWAY FROM THE REAL WAR. 1729 01:39:29,254 --> 01:39:30,954 {\an1}THE LONG-PLANNED ALLIED INVASION 1730 01:39:30,987 --> 01:39:33,954 {\an1}OF NAZI-OCCUPIED FRANCE WAS COMING. 1731 01:39:33,987 --> 01:39:36,421 {\an1}HE OWED IT TO HIMSELF, SHE INSISTED... 1732 01:39:36,454 --> 01:39:40,821 {\an1}HE OWED IT TO HISTORY... TO BE IN AT THE DEATH OF FASCISM. 1733 01:39:42,321 --> 01:39:44,187 {\an1}HISTORY DIDN'T CONCERN HIM, HE SAID. 1734 01:39:44,221 --> 01:39:47,887 {\an1}HE'D BEEN WOUNDED IN ONE WAR AND UNDER FIRE IN TWO. 1735 01:39:47,921 --> 01:39:51,187 {\an1}HIS LUCK WAS LIKELY TO RUN OUT IN A THIRD. 1736 01:39:51,221 --> 01:39:54,587 {\an1}IF HE WERE TO BE KILLED, SHE WOULD BEAR THE BLAME. 1737 01:39:55,787 --> 01:39:57,554 {\an1}FINALLY, GELLHORN TOLD HIM 1738 01:39:57,587 --> 01:39:59,421 {\an1}SHE "WAS GOING BACK TO LONDON 1739 01:39:59,454 --> 01:40:01,987 {\an1}WHETHER HE CAME OR NOT." 1740 01:40:04,521 --> 01:40:08,021 {\an1}THEN, SUDDENLY, HE CHANGED HIS MIND AND AGREED TO GO. 1741 01:40:08,054 --> 01:40:12,121 {\an1}HE TOLD HER, "JUST FEEL LIKE OLD HORSE." 1742 01:40:13,587 --> 01:40:17,254 MAN AS HEMINGWAY: GOOD, SOUND, BUT OLD, 1743 01:40:17,287 --> 01:40:19,621 {\an1}BEING SADDLED AGAIN TO RACE OVER THE JUMPS 1744 01:40:19,654 --> 01:40:22,554 {\an1}BECAUSE OF UNSCRUPULOUS OWNER. 1745 01:40:22,587 --> 01:40:25,021 {\an1}WILL MAKE SAME RACE AS ALWAYS, 1746 01:40:25,054 --> 01:40:27,554 {\an1}BEST THAT CAN MAKE, BUT AM NEITHER 1747 01:40:27,587 --> 01:40:31,621 {\an1}HAPPY, EXCITED, NOR INTERESTED. 1748 01:40:31,654 --> 01:40:33,887 {\an1}[DAVID CIERI'S "I USED TO LOVE YOU VARIATION 2" PLAYING] 1749 01:40:33,921 --> 01:40:36,187 {\an1}NARRATOR: HE SIGNED ON WITH "COLLIER'S"... 1750 01:40:36,221 --> 01:40:38,354 {\an1}THUS ENSURING THAT GELLHORN WOULD BE 1751 01:40:38,387 --> 01:40:43,387 {\an1}OVERSHADOWED AT THE MAGAZINE FOR WHICH SHE WROTE REGULARLY. 1752 01:40:43,421 --> 01:40:46,887 {\an1}"HE DID IT TO FIX ME," SHE REMEMBERED MANY YEARS LATER. 1753 01:40:46,921 --> 01:40:50,987 {\an1}"NOTHING COULD BEAT IT FOR SHEER BITCHERY." 1754 01:40:51,021 --> 01:40:52,587 {\an1}STILL, MARTHA PERSUADED A FRIEND 1755 01:40:52,621 --> 01:40:55,054 {\an1}AT THE BRITISH EMBASSY IN WASHINGTON 1756 01:40:55,087 --> 01:40:57,554 {\an1}TO PROVIDE HIM WITH A HARD-TO-OBTAIN SEAT 1757 01:40:57,587 --> 01:41:00,954 {\an1}ON AN RAF PLANE HEADED FOR LONDON. 1758 01:41:00,987 --> 01:41:03,854 {\an1}SHE ASSUMED SHE'D BE BOARDING THE PLANE, TOO. 1759 01:41:03,887 --> 01:41:07,854 {\an1}BUT HEMINGWAY, STILL BITTER OVER THE PRESSURE SHE'D PUT ON HIM, 1760 01:41:07,887 --> 01:41:10,821 {\an1}TOLD HER THE MILITARY HAD BARRED WOMEN... 1761 01:41:10,854 --> 01:41:13,054 EVEN THOUGH TWO BRITISH ACTRESSES 1762 01:41:13,087 --> 01:41:16,621 WOULD BE AMONG HIS FELLOW PASSENGERS. 1763 01:41:16,654 --> 01:41:20,321 {\an1}GELLHORN WAS FORCED TO CROSS THE NORTH ATLANTIC ALONE, 1764 01:41:20,354 --> 01:41:23,354 {\an1}THE SOLE CIVILIAN ABOARD A NORWEGIAN FREIGHTER 1765 01:41:23,387 --> 01:41:26,521 {\an1}CARRYING EXPLOSIVES AND LANDING CRAFT, 1766 01:41:26,554 --> 01:41:31,887 {\an1}PART OF THE PREPARATIONS FOR D-DAY, NOW JUST WEEKS AWAY. 1767 01:41:31,921 --> 01:41:35,054 HER MARRIAGE WAS ESSENTIALLY OVER. 1768 01:41:35,087 --> 01:41:36,687 {\an1}"ERNEST IS A GOOD MAN," 1769 01:41:36,721 --> 01:41:40,454 {\an1}SHE WROTE AN OLD FRIEND WHILE ABOARD SHIP. 1770 01:41:40,487 --> 01:41:42,887 {\an1}WOMAN AS GELLHORN: HE IS, HOWEVER, BAD FOR ME... 1771 01:41:42,921 --> 01:41:45,987 {\an1}OR MAYBE WRONG FOR ME IS THE WORD; 1772 01:41:46,021 --> 01:41:48,354 {\an1}AND I AM WRONG FOR HIM. 1773 01:41:51,154 --> 01:41:54,087 {\an1}AS FAR AS I AM CONCERNED, IT IS ALL OVER. 1774 01:41:54,121 --> 01:41:57,254 IT'LL NEVER WORK BETWEEN US AGAIN. 1775 01:41:57,287 --> 01:42:02,821 {\an1}I AM WONDERING NOW IF IT EVER REALLY WORKED; 1776 01:42:02,854 --> 01:42:07,421 {\an1}I AM WONDERING WHAT ALL THESE 7 YEARS WERE ABOUT EXACTLY. 1777 01:42:08,854 --> 01:42:16,854 {\an1}I FEEL TERRIBLY STRANGE, LIKE A SHADOW, AND FULL OF DREAD. 1778 01:42:18,087 --> 01:42:22,621 {\an1}I DREAD THE TIME AHEAD, THE AMPUTATING TIME. 1779 01:42:23,921 --> 01:42:27,554 {\an1}IT IS, NOTE, MY FAULT: 1780 01:42:27,587 --> 01:42:29,587 {\an1}I AM THE ONE WHO HAS CHANGED 1781 01:42:29,621 --> 01:42:34,321 AND I AM ASHAMED AND GUILTY, TOO, 1782 01:42:34,354 --> 01:42:38,421 {\an1}BECAUSE I AM BREAKING HIS HEART. 1783 01:42:38,454 --> 01:42:40,254 {\an1}WE QUARRELED TOO MUCH, I SUPPOSE. 1784 01:42:40,287 --> 01:42:47,287 {\an1}IT'S ALL SICKENING AND I'M SAD TO DEATH AND AFRAID. 1785 01:42:47,321 --> 01:42:53,621 {\an1}I ONLY WANT TO BE ALONE. I WANT TO BE MYSELF 1786 01:42:53,654 --> 01:42:57,421 {\an1}AND ALONE AND FREE TO BREATHE, LIVE, 1787 01:42:57,454 --> 01:43:02,487 {\an1}LOOK UPON THE WORLD AND FIND IT HOWEVER IT IS. 1788 01:43:02,521 --> 01:43:06,421 {\an1}I WANT MY OWN NAME BACK, MOST VIOLENTLY, 1789 01:43:06,454 --> 01:43:11,687 {\an1}AS IF GETTING IT BACK WOULD GIVE ME SOME OF MYSELF. 1790 01:43:15,154 --> 01:43:16,330 NARRATOR: HEMINGWAY GOT TO ENGLAND 1791 01:43:16,354 --> 01:43:20,121 {\an1}11 DAYS BEFORE GELLHORN DID... 1792 01:43:20,154 --> 01:43:22,754 {\an1}LONG ENOUGH FOR HIM TO MEET THE WOMAN WHO WOULD BECOME 1793 01:43:22,787 --> 01:43:26,921 THE FOURTH MRS. ERNEST HEMINGWAY. 1794 01:43:26,954 --> 01:43:30,054 {\an7}[DUKE ELLINGTON & BUBBER MILEY'S "THE NEW EAST ST. LOUIS TOODLE-O" PLAYING] 1795 01:43:32,521 --> 01:43:37,497 ♪ 1796 01:43:37,521 --> 01:43:45,521 ♪ 1797 01:44:02,521 --> 01:44:07,497 ♪ 1798 01:44:07,521 --> 01:44:15,521 ♪ 1799 01:44:38,987 --> 01:44:41,221 ANNOUNCER: NEXT TIME "ON HEMINGWAY"... 1800 01:44:41,254 --> 01:44:42,297 {\an1}MAN, AS HEMINGWAY: WHATEVER HAPPENED TO HIM NOW 1801 01:44:42,321 --> 01:44:43,821 {\an1}HE CONSIDERED OF NO IMPORTANCE 1802 01:44:43,854 --> 01:44:45,687 {\an1}AS LONG AS HE COULD WRITE. 1803 01:44:45,721 --> 01:44:48,587 {\an1}ANNOUNCER: WORLD WAR II LEAVES LASTING SCARS... 1804 01:44:48,621 --> 01:44:50,354 {\an1}SUSAN BEEGEL: HE HAD SEEN SO MANY THINGS 1805 01:44:50,387 --> 01:44:52,687 {\an1}THAT HE COULD NOT UNSEE... 1806 01:44:52,721 --> 01:44:54,487 ANNOUNCER: A CLASSIC MASTERPIECE... 1807 01:44:54,521 --> 01:44:56,063 {\an1}MAN AS HEMINGWAY: EVERYTHING ABOUT HIM WAS OLD 1808 01:44:56,087 --> 01:44:57,487 EXCEPT HIS EYES. 1809 01:44:57,521 --> 01:44:59,854 ANNOUNCER: AND A DESCENT INTO DARKNESS. 1810 01:44:59,887 --> 01:45:01,297 {\an1}MICHAEL KATAKIS: THE HISTORY OF MENTAL ILLNESS 1811 01:45:01,321 --> 01:45:03,687 IN THE FAMILY HAD TO BE ON HIS MIND. 1812 01:45:03,721 --> 01:45:05,230 {\an1}ANNOUNCER: DON'T MISS THE FINAL CHAPTER 1813 01:45:05,254 --> 01:45:09,054 {\an1}OF "HEMINGWAY" NEXT TIME. 1814 01:45:09,087 --> 01:45:10,821 {\an4}VO: Stay tuned for a special preview 1815 01:45:10,854 --> 01:45:12,987 {\an4}of the next film from Ken Burns: MUHAMMAD ALI. 1816 01:45:14,354 --> 01:45:16,187 {\an7}ANNOUNCER: DIVE DEEPER INTO THIS FILM 1817 01:45:16,221 --> 01:45:18,321 {\an7}BY VISITING PBS.ORG/HEMINGWAY 1818 01:45:18,354 --> 01:45:20,454 {\an7}AND THE PBS VIDEO APP. 1819 01:45:20,487 --> 01:45:24,587 {\an7}JOIN THE CONVERSATION WITH HASHTAG #HEMINGWAYPBS. 1820 01:45:24,621 --> 01:45:27,587 {\an7}TO ORDER "HEMINGWAY" ON DVD OR BLU-RAY 1821 01:45:27,621 --> 01:45:29,621 {\an8}OR THE BOOK "THE HEMINGWAY STORIES," 1822 01:45:29,654 --> 01:45:34,021 {\an7}VISIT SHOP PBS OR CALL 1-800-PLAY-PBS. 1823 01:45:34,054 --> 01:45:36,254 {\an7}THE CD IS ALSO AVAILABLE. 1824 01:45:36,287 --> 01:45:39,754 {\an7}"HEMINGWAY" IS ALSO AVAILABLE WITH PBS PASSPORT 1825 01:45:39,787 --> 01:45:43,187 {\an7}AND ON AMAZON PRIME VIDEO. 1826 01:45:46,987 --> 01:45:53,354 ♪ 1827 01:45:53,821 --> 01:45:59,421 ♪ 1828 01:45:59,887 --> 01:46:02,754 ♪ 1829 01:46:10,054 --> 01:46:12,621 ♪ 1830 01:46:14,021 --> 01:46:15,654 {\an7}ANNOUNCER: MAJOR FUNDING FOR "HEMINGWAY" 1831 01:46:15,687 --> 01:46:18,354 {\an8}WAS PROVIDED BY THE BETTER ANGELS SOCIETY 1832 01:46:18,387 --> 01:46:20,121 {\an1}AND BY ITS MEMBERS: 1833 01:46:20,154 --> 01:46:22,587 {\an1}THE ELIZABETH RUTH WALLACE LIVING TRUST, 1834 01:46:22,621 --> 01:46:24,521 {\an1}JOHN AND LESLIE McQUOWN, 1835 01:46:24,554 --> 01:46:26,221 {\an1}JOHN AND CATHERINE DEBS, 1836 01:46:26,254 --> 01:46:28,954 {\an1}THE FULLERTON FAMILY CHARITABLE TRUST, 1837 01:46:28,987 --> 01:46:31,954 {\an1}KISSICK FAMILY FOUNDATION, GAIL ELDEN, 1838 01:46:31,987 --> 01:46:33,554 {\an1}GILCHRIST AND AMY BERG, 1839 01:46:33,587 --> 01:46:35,154 {\an1}ROBERT AND BEVERLY GRAPPONE, 1840 01:46:35,187 --> 01:46:37,621 {\an1}AND MAUREE JANE AND MARK PERRY. 1841 01:46:37,654 --> 01:46:42,021 {\an1}ADDITIONAL FUNDING WAS PROVIDED BY THE ANNENBERG FOUNDATION, 1842 01:46:42,054 --> 01:46:44,587 {\an1}THE ARTHUR VINING DAVIS FOUNDATIONS, 1843 01:46:44,621 --> 01:46:47,121 THE CORPORATION FOR PUBLIC BROADCASTING, 1844 01:46:47,154 --> 01:46:50,387 {\an1}AND BY CONTRIBUTIONS TO YOUR PBS STATION 1845 01:46:50,421 --> 01:46:52,454 {\an1}FROM VIEWERS LIKE YOU. 1846 01:46:52,487 --> 01:46:55,021 THANK YOU.