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 00:00:47,554 --> 00:00:50,521 ♪ 19 00:00:59,787 --> 00:01:02,821 {\an1}MAN, AS HEMINGWAY: WHEN HE AWOKE, HE KNEW HE HAD BEEN 20 00:01:02,854 --> 00:01:05,221 {\an1}OUT OF HIS HEAD IN THE NIGHT, 21 00:01:05,254 --> 00:01:08,787 {\an1}AND AFTER EATING HIS BREAKFAST, HE UNLOADED HIS PISTOL 22 00:01:08,821 --> 00:01:11,021 {\an1}AND PLACED THE LOADED MAGAZINE IN ONE DRAWER 23 00:01:11,054 --> 00:01:13,454 {\an1}AND THE PISTOL IN ANOTHER. 24 00:01:13,487 --> 00:01:17,654 AFTER THIS, HE COMMENCED WRITING. 25 00:01:17,687 --> 00:01:21,321 {\an1}AT NIGHTS NOW HE WAS ON THE BOAT, MOSTLY, 26 00:01:21,354 --> 00:01:23,921 {\an1}ALTHOUGH ON SOME NIGHTS HE WAS IN UPPER MICHIGAN, 27 00:01:23,954 --> 00:01:26,354 {\an1}WHERE HE HAD LIVED AS A BOY. 28 00:01:26,387 --> 00:01:30,287 {\an1}THIS WAS THE FIRST TIME WHEN HE HAD BEEN REALLY AWAKE IN THE NIGHT 29 00:01:30,321 --> 00:01:33,287 {\an1}AND STILL UNABLE TO LEAVE THE DREAM. 30 00:01:33,321 --> 00:01:35,487 HE KNEW HE HAD BEEN OUT OF HIS MIND, 31 00:01:35,521 --> 00:01:39,887 {\an1}BUT HE DID NOT CARE AS LONG AS HE COULD WRITE IN THE DAYTIME. 32 00:01:39,921 --> 00:01:41,854 [KEYS CLICKING] 33 00:01:41,887 --> 00:01:46,154 {\an1}WHATEVER HAPPENED TO HIM NOW HE CONSIDERED OF NO IMPORTANCE 34 00:01:46,187 --> 00:01:49,187 AS LONG AS HE COULD WRITE. 35 00:01:49,221 --> 00:01:51,354 {\an1}HE WROTE WELL THAT DAY. 36 00:02:00,921 --> 00:02:04,487 {\an8}♪ 37 00:02:11,321 --> 00:02:17,054 {\an1}NARRATOR: ON MAY 17, 1944, ERNEST HEMINGWAY ARRIVED IN LONDON, 38 00:02:17,087 --> 00:02:19,254 {\an1}ASSIGNED BY "COLLIER'S" MAGAZINE TO COVER 39 00:02:19,287 --> 00:02:24,821 {\an1}THE ALLIED INVASION OF FRANCE, NOW LESS THAN 3 WEEKS AWAY. 40 00:02:24,854 --> 00:02:29,921 {\an1}HE WAS 44 YEARS OLD BUT SEEMED MUCH OLDER AND FELT THAT 41 00:02:29,954 --> 00:02:33,687 {\an1}THE LUCK THAT HAD KEPT HIM ALIVE THROUGH TWO WARS WOULD LIKELY 42 00:02:33,721 --> 00:02:37,021 {\an1}NOT CONTINUE THROUGH ANOTHER 43 00:02:37,054 --> 00:02:40,787 {\an1}AND BLAMED HIS THIRD WIFE, MARTHA GELLHORN, 44 00:02:40,821 --> 00:02:42,621 {\an1}FOR FORCING HIM TO COME. 45 00:02:42,654 --> 00:02:45,754 {\an1}GELLHORN WAS STILL AT SEA, ON HER WAY TO ENGLAND 46 00:02:45,787 --> 00:02:48,654 {\an1}TO COVER THE CONFLICT. 47 00:02:48,687 --> 00:02:51,721 {\an1}ONCE HEMINGWAY SETTLED INTO HIS SECOND-FLOOR ROOM 48 00:02:51,754 --> 00:02:55,854 {\an1}AT THE DORCHESTER HOTEL IN THE FASHIONABLE MAYFAIR DISTRICT, 49 00:02:55,887 --> 00:02:59,421 {\an1}HE FOUND HIMSELF THE CENTER OF ATTENTION AND HIGH-SPIRITED 50 00:02:59,454 --> 00:03:01,454 GOOD TIMES. 51 00:03:01,487 --> 00:03:05,954 {\an1}FELLOW CORRESPONDENTS, RAF PILOTS, AND OPERATIVES ENLISTED 52 00:03:05,987 --> 00:03:10,787 {\an1}IN THE CLANDESTINE U.S. OFFICE OF SPECIAL SERVICES... THE OSS... 53 00:03:10,821 --> 00:03:14,421 {\an1}ALL GRAVITATED TOWARDS HIM. 54 00:03:14,454 --> 00:03:17,454 {\an1}ONE DAY AT LUNCH, HE STOPPED BY THE TABLE OF THE PLAYWRIGHT 55 00:03:17,487 --> 00:03:21,821 {\an1}IRWIN SHAW AND ASKED TO BE INTRODUCED TO HIS COMPANION, 56 00:03:21,854 --> 00:03:26,221 {\an1}A 36-YEAR-OLD CORRESPONDENT FOR "TIME" AND "LIFE" NAMED 57 00:03:26,254 --> 00:03:28,454 MARY WELSH. 58 00:03:28,487 --> 00:03:30,987 {\an1}HER SECOND HUSBAND, AN AUSTRALIAN REPORTER, 59 00:03:31,021 --> 00:03:34,454 {\an1}WAS OUT OF THE COUNTRY, AND IN WARTIME LONDON SHE WAS 60 00:03:34,487 --> 00:03:40,454 {\an1}BEING PURSUED SIMULTANEOUSLY BY SHAW AND A NUMBER OF OTHER MEN. 61 00:03:40,487 --> 00:03:44,121 {\an1}HEMINGWAY JOINED THE PACK. 62 00:03:44,154 --> 00:03:45,954 [AIR RAID SIREN] 63 00:03:45,987 --> 00:03:48,654 {\an1}ONE NIGHT, RETURNING BY CAR FROM A PARTY THROUGH THE 64 00:03:48,687 --> 00:03:52,421 {\an1}BLACKED-OUT LONDON STREETS, HEMINGWAY'S DRIVER FAILED TO 65 00:03:52,454 --> 00:03:56,321 {\an1}SEE A WATER TANK AND CRASHED INTO IT. 66 00:03:56,354 --> 00:03:58,154 HEMINGWAY'S KNEES WERE INJURED. 67 00:03:58,187 --> 00:04:00,687 {\an1}HIS HEAD SMASHED THROUGH THE WINDSHIELD, CAUSING 68 00:04:00,721 --> 00:04:02,987 {\an1}ANOTHER CONCUSSION. 69 00:04:03,021 --> 00:04:07,054 {\an1}"HIS SKULL WAS SPLIT WIDE OPEN," HIS FRIEND ROBERT CAPA REMEMBERED, 70 00:04:07,087 --> 00:04:10,254 {\an1}"AND HIS BEARD WAS FULL OF BLOOD." 71 00:04:10,287 --> 00:04:13,554 {\an1}WHEN MARTHA GELLHORN FINALLY ARRIVED IN LONDON AND CAME TO 72 00:04:13,587 --> 00:04:17,021 {\an1}SEE HIM IN THE HOSPITAL, SHE BURST INTO LAUGHTER 73 00:04:17,054 --> 00:04:20,487 {\an1}AT THE SIGHT OF HIM HOLDING COURT AND DRINKING WHISKY 74 00:04:20,521 --> 00:04:25,054 {\an1}IN HIS ROOM, HIS HEAD SWATHED IN BANDAGES. 75 00:04:25,087 --> 00:04:28,387 {\an1}SHE WAS SURE NOTHING SERIOUS COULD BE WRONG. 76 00:04:28,421 --> 00:04:31,187 {\an1}"HE DID NOT LOOK THE LEAST ILL," SHE REMEMBERED. 77 00:04:31,221 --> 00:04:34,987 {\an1}THIS WAS NO WAY TO BEHAVE WHEN THE WORLD WAS AT WAR. 78 00:04:35,021 --> 00:04:40,087 {\an1}"WE'RE THROUGH," SHE SAID, AND STORMED OUT OF THE ROOM. 79 00:04:40,121 --> 00:04:43,687 {\an1}HE WROTE TO HIS SON PATRICK. 80 00:04:43,721 --> 00:04:45,397 {\an1}MAN, AS HEMINGWAY: "WHEN HEAD WAS ALL SMASHED 81 00:04:45,421 --> 00:04:47,354 {\an1}"AND TERRIBLE HEADACHES, ET CETERA, 82 00:04:47,387 --> 00:04:49,387 "SHE WOULD NOT DO ANYTHING FOR A MAN 83 00:04:49,421 --> 00:04:53,321 {\an1}"THAT WE WOULD DO FOR A DOG. 84 00:04:53,354 --> 00:04:58,021 {\an1}"I MADE A VERY GREAT MISTAKE ON HER, OR ELSE SHE CHANGED VERY MUCH. 85 00:04:58,054 --> 00:05:03,021 {\an1}"I THINK PROBABLY BOTH, BUT MOSTLY THE LATTER. 86 00:05:03,054 --> 00:05:06,087 {\an1}"I HATE TO LOSE ANYONE WHO CAN LOOK SO LOVELY AND WHO 87 00:05:06,121 --> 00:05:09,121 {\an1}"WE TAUGHT TO SHOOT AND WRITE SO WELL, 88 00:05:09,154 --> 00:05:12,821 {\an1}"BUT HAVE TORN UP MY TICKETS ON HER AND WOULD BE GLAD TO 89 00:05:12,854 --> 00:05:15,321 {\an1}NEVER SEE HER AGAIN." 90 00:05:15,354 --> 00:05:18,754 {\an1}KALE: HE JUST... HE COULDN'T DEAL WITH THE FACT THAT SHE LEFT HIM. 91 00:05:18,787 --> 00:05:22,721 {\an7}HEMINGWAY REALLY, UH, NEVER GOT OVER HER. 92 00:05:22,754 --> 00:05:27,021 {\an7}HE RETAINED HIS ANGER AT HER FOR THE REST OF HIS LIFE. 93 00:05:27,054 --> 00:05:30,021 {\an1}NARRATOR: MARY WELSH, WHO ARRIVED AT THE HOSPITAL 94 00:05:30,054 --> 00:05:33,687 {\an1}WITH A BOUQUET OF TULIPS AND DAFFODILS, PROVED FAR 95 00:05:33,721 --> 00:05:35,621 MORE SYMPATHETIC. 96 00:05:35,654 --> 00:05:39,321 {\an1}IN FACT, HEMINGWAY'S INJURY WAS MUCH MORE SERIOUS THAN IT 97 00:05:39,354 --> 00:05:42,654 {\an1}SEEMED AT FIRST... A SUBDURAL HEMATOMA, 98 00:05:42,687 --> 00:05:45,787 BLEEDING BETWEEN THE BRAIN AND THE SKULL. 99 00:05:45,821 --> 00:05:49,121 {\an1}AS A RESULT OF IT, FOR 11 MONTHS, DURING ALL 100 00:05:49,154 --> 00:05:51,754 {\an1}THE FIGHTING HE WOULD COVER IN EUROPE, HE WOULD SUFFER FROM 101 00:05:51,787 --> 00:05:55,754 {\an1}BLURRED VISION, RINGING IN HIS EARS, AND CONSTANTLY RECURRING 102 00:05:55,787 --> 00:05:59,054 {\an1}HEADACHES, AND WOULD HAVE TROUBLE RECALLING WORDS 103 00:05:59,087 --> 00:06:02,521 {\an1}AND WRITING LEGIBLY. 104 00:06:02,554 --> 00:06:06,187 {\an1}NONETHELESS, HEMINGWAY WAS RELEASED FROM THE HOSPITAL 105 00:06:06,221 --> 00:06:11,987 {\an1}AFTER JUST 4 DAYS AND CONTINUED HIS PURSUIT OF MARY WELSH. 106 00:06:12,021 --> 00:06:13,854 {\an1}"I DON'T KNOW YOU, MARY. 107 00:06:13,887 --> 00:06:17,321 {\an1}BUT I WANT TO MARRY YOU," HE TOLD HER, BEFORE BOARDING 108 00:06:17,354 --> 00:06:20,121 {\an1}THE TROOP CARRIER THAT WOULD FERRY HIM ACROSS 109 00:06:20,154 --> 00:06:23,054 {\an1}THE ENGLISH CHANNEL ON D-DAY. 110 00:06:23,087 --> 00:06:28,487 {\an1}"I WANT TO MARRY YOU NOW, AND I HOPE TO MARRY YOU SOMETIME. 111 00:06:28,521 --> 00:06:32,121 SOMETIME, YOU MAY WANT TO MARRY ME." 112 00:06:32,154 --> 00:06:35,354 ♪ 113 00:06:45,821 --> 00:06:49,487 {\an1}MAN, AS HEMINGWAY: AS WE MOVED IN TOWARD LAND IN THE GRAY EARLY LIGHT, 114 00:06:49,521 --> 00:06:53,387 {\an1}THE 36-FOOT COFFIN-SHAPED STEEL BOATS TOOK 115 00:06:53,421 --> 00:06:57,021 {\an1}SOLID-GREEN SHEETS OF WATER THAT FELL ON THE HELMETED HEADS 116 00:06:57,054 --> 00:07:00,021 OF THE TROOPS PACKED SHOULDER TO SHOULDER 117 00:07:00,054 --> 00:07:04,154 {\an1}IN THE STIFF, AWKWARD, UNCOMFORTABLE, LONELY 118 00:07:04,187 --> 00:07:07,721 {\an1}COMPANIONSHIP OF MEN GOING TO BATTLE. 119 00:07:07,754 --> 00:07:08,921 [DISTANT GUNFIRE] 120 00:07:08,954 --> 00:07:11,287 {\an1}MAN: FIRE! [EXPLOSION] 121 00:07:13,554 --> 00:07:16,554 {\an1}NARRATOR: DESPITE HIS THROBBING HEAD AND BATTERED KNEES, 122 00:07:16,587 --> 00:07:20,021 {\an1}HEMINGWAY CLIMBED DOWN A ROPE LADDER INTO A LANDING CRAFT 123 00:07:20,054 --> 00:07:23,421 {\an1}WALLOWING OFF THE LEFT FLANK OF OMAHA BEACH, 124 00:07:23,454 --> 00:07:28,187 {\an1}WHERE 34,000 SOLDIERS WERE ABOUT TO LAND... 125 00:07:28,221 --> 00:07:30,054 [RAPID GUNFIRE] 126 00:07:30,087 --> 00:07:33,887 {\an1}BUT NO WAR CORRESPONDENTS WERE PERMITTED TO GO ASHORE. 127 00:07:33,921 --> 00:07:38,521 {\an1}HE HAD TO STAY ABOARD THE LANDING CRAFT AND WATCH FROM THE BOAT 128 00:07:38,554 --> 00:07:43,954 {\an1}AS MEN WADED THROUGH THE SURF UNDER DEADLY GERMAN FIRE. 129 00:07:43,987 --> 00:07:46,187 {\an1}MAN, AS HEMINGWAY: ON THE BEACH ON THE LEFT WHERE THERE 130 00:07:46,221 --> 00:07:49,587 {\an1}WAS NO SHELTERING OVERHANG OF SHINGLED BANK, THE FIRST, 131 00:07:49,621 --> 00:07:55,054 {\an1}SECOND, THIRD, FOURTH, AND FIFTH WAVES LAY WHERE THEY 132 00:07:55,087 --> 00:07:59,554 {\an1}HAD FALLEN, LOOKING LIKE SO MANY HEAVILY LADEN BUNDLES 133 00:07:59,587 --> 00:08:02,587 {\an1}ON THE FLAT PEBBLY STRETCH BETWEEN THE SEA 134 00:08:02,621 --> 00:08:04,121 {\an1}AND THE FIRST COVER. 135 00:08:04,154 --> 00:08:06,221 [GUNFIRE] 136 00:08:06,254 --> 00:08:10,654 {\an1}NARRATOR: 1,000 ALLIED TROOPS WOULD DIE THAT DAY. 137 00:08:13,187 --> 00:08:18,321 {\an1}BY EVENING, HEMINGWAY WAS BACK IN HIS LONDON HOTEL ROOM. 138 00:08:18,354 --> 00:08:21,354 {\an1}HE WAS NOT PLEASED TO LEARN THAT MARTHA GELLHORN WOULD 139 00:08:21,387 --> 00:08:23,754 {\an1}MANAGE TO DO WHAT HE HAD NOT... 140 00:08:23,787 --> 00:08:26,987 {\an1}GET ONTO OMAHA BEACH. 141 00:08:27,021 --> 00:08:31,054 {\an1}SHE SLIPPED ABOARD A HOSPITAL SHIP, THEN LOCKED HERSELF 142 00:08:31,087 --> 00:08:34,887 {\an1}IN A BATHROOM AND WENT ASHORE WITH THE AMBULANCE TEAMS, 143 00:08:34,921 --> 00:08:38,154 HELPING BRING BACK THE WOUNDED. 144 00:08:38,187 --> 00:08:42,754 {\an1}SHE HANDED IN HER PIECE BEFORE HE DID AND HAD SEEN 145 00:08:42,787 --> 00:08:47,154 {\an1}AND EXPERIENCED FAR MORE OF THE CARNAGE THAN HE HAD. 146 00:08:47,187 --> 00:08:50,254 {\an1}BUT WHEN THE NEXT ISSUE OF "COLLIER'S" APPEARED, 147 00:08:50,287 --> 00:08:53,587 ONLY HIS NAME WAS ON THE COVER. 148 00:08:55,021 --> 00:08:56,887 {\an1}IN THE WEEKS AFTER D-DAY, 149 00:08:56,921 --> 00:09:01,554 {\an1}HEMINGWAY ACCOMPANIED RAF PILOTS ON BOMBING MISSIONS, 150 00:09:01,587 --> 00:09:04,787 {\an1}BUT DESPITE THE ENEMY FLAK THROUGH WHICH HE FLEW, 151 00:09:04,821 --> 00:09:10,121 {\an1}HE FELT TOO FAR FROM WHAT WAS HAPPENING ON THE GROUND IN FRANCE. 152 00:09:10,154 --> 00:09:12,987 {\an1}HEMINGWAY GOT HIMSELF ASSIGNED BRIEFLY 153 00:09:13,021 --> 00:09:15,921 {\an1}TO GENERAL GEORGE PATTON'S THIRD ARMY, 154 00:09:15,954 --> 00:09:18,587 {\an1}BUT HE DISLIKED ITS SHOWY COMMANDER 155 00:09:18,621 --> 00:09:22,254 {\an1}AND HAD LITTLE INTEREST IN TANK WARFARE. 156 00:09:22,287 --> 00:09:27,354 {\an1}THEN HE MANAGED TO LIBERATE A GERMAN MOTORCYCLE WITH A SIDECAR, 157 00:09:27,387 --> 00:09:29,821 AND TRAVELING ALONG AN UNSECURED ROAD... 158 00:09:29,854 --> 00:09:34,087 [EXPLOSION] WAS FIRED UPON BY A GERMAN ANTITANK GUN. 159 00:09:34,121 --> 00:09:36,854 {\an1}THE EXPLOSION HURLED HIM INTO A DITCH, 160 00:09:36,887 --> 00:09:38,754 {\an1}WHERE HIS HEAD HIT A ROCK 161 00:09:38,787 --> 00:09:41,921 AND HE SUFFERED YET ANOTHER CONCUSSION. 162 00:09:41,954 --> 00:09:46,387 {\an1}ENEMY TROOPS WERE SO CLOSE, HE COULD HEAR THEM TALKING. 163 00:09:46,421 --> 00:09:51,654 {\an1}HE HAD TO STAY HIDDEN TILL DARK FOR FEAR OF CAPTURE. 164 00:09:51,687 --> 00:09:55,621 {\an1}HE EVENTUALLY FOUND A HOME WITH THE 22nd REGIMENT 165 00:09:55,654 --> 00:09:59,387 {\an1}OF THE 4th INFANTRY DIVISION... THE "DOUBLE DEUCES"... 166 00:09:59,421 --> 00:10:03,021 {\an1}COMMANDED BY COLONEL CHARLES "BUCK" LANHAM, WHO WOULD 167 00:10:03,054 --> 00:10:06,121 {\an1}BECOME HIS LIFELONG FRIEND. 168 00:10:06,154 --> 00:10:09,354 {\an1}LANHAM REMEMBERED HIS FIRST SIGHT OF HEMINGWAY 169 00:10:09,387 --> 00:10:12,787 {\an1}WATCHING THE STREET FIGHTING IN A NORMAN VILLAGE. 170 00:10:12,821 --> 00:10:16,854 {\an1}"ERNEST WAS STANDING POISED AS ALWAYS ON THE BALLS OF HIS FEET, 171 00:10:16,887 --> 00:10:19,654 "LIKE A FIGHTER, LIKE A GREAT CAT... 172 00:10:19,687 --> 00:10:24,354 "EASY, RELAXED, ABSORBED, INTENT, WATCHFUL. 173 00:10:24,387 --> 00:10:26,721 MISSING NOTHING." 174 00:10:26,754 --> 00:10:30,487 {\an1}WHEN TOWNSPEOPLE MISTOOK HEMINGWAY FOR AN OFFICER 175 00:10:30,521 --> 00:10:34,021 {\an1}AND TOLD HIM THREE SS MEN WERE HIDING IN A CELLAR, 176 00:10:34,054 --> 00:10:36,154 HE SHOUTED DOWN A WARNING, 177 00:10:36,187 --> 00:10:39,321 {\an1}THEN TUMBLED 3 GRENADES DOWN THE STAIRS. 178 00:10:39,354 --> 00:10:41,221 [EXPLOSION] 179 00:10:43,521 --> 00:10:46,221 {\an1}GRATEFUL VILLAGERS REWARDED HIM WITH TWO MAGNUMS 180 00:10:46,254 --> 00:10:48,721 OF CHAMPAGNE. 181 00:10:48,754 --> 00:10:51,987 {\an1}FOR A TIME, HE AND A CONSTANTLY CHANGING CAST 182 00:10:52,021 --> 00:10:56,487 {\an1}OF CORRESPONDENTS OCCUPIED A HOTEL AT MONT ST. MICHEL, 183 00:10:56,521 --> 00:10:59,654 {\an1}DRIVING OUT TO WATCH THE WAR DURING THE DAY 184 00:10:59,687 --> 00:11:02,887 {\an1}AND DRINKING AND DINING TOGETHER IN THE EVENING... 185 00:11:02,921 --> 00:11:05,754 {\an1}CHARLES COLLINGWOOD OF CBS RADIO, 186 00:11:05,787 --> 00:11:07,921 {\an1}THE "NEW YORKER's" A.J. LIEBLING, 187 00:11:07,954 --> 00:11:11,287 {\an1}AND THE MOVIE DIRECTOR JOHN FORD AMONG THEM. 188 00:11:15,254 --> 00:11:18,421 {\an1}THE GENEVA CONVENTION BARRED CORRESPONDENTS FROM 189 00:11:18,454 --> 00:11:20,354 {\an1}BECOMING COMBATANTS. 190 00:11:22,487 --> 00:11:26,221 {\an1}HEMINGWAY PAID LITTLE ATTENTION TO THE RULES. 191 00:11:26,254 --> 00:11:29,587 {\an1}WITH PRIVATE "RED" PELKEY AT THE WHEEL, HE TRAVELED 192 00:11:29,621 --> 00:11:32,721 {\an1}EVERYWHERE IN A JEEP FILLED WITH MAPS, RIFLES, 193 00:11:32,754 --> 00:11:34,454 AND GRENADES. 194 00:11:34,487 --> 00:11:37,454 {\an1}SOME REPORTERS ADMIRED HIM FOR IT. 195 00:11:37,487 --> 00:11:39,754 {\an1}OTHERS COULDN'T STAND HIM. 196 00:11:39,787 --> 00:11:42,987 {\an1}"HE WAS ONLY A REPORTER SAME AS US," ONE SAID, 197 00:11:43,021 --> 00:11:47,554 "BUT HE THOUGHT HE WAS THE SECOND COMING." 198 00:11:47,587 --> 00:11:52,387 {\an1}IN LATE AUGUST 1944, AS AMERICAN FORCES MOVED 199 00:11:52,421 --> 00:11:56,454 {\an1}TOWARD PARIS, HEMINGWAY RAN INTO COLONEL DAVID BRUCE, 200 00:11:56,487 --> 00:11:59,887 {\an1}AN OLD FRIEND NOW SERVING IN THE OSS, 201 00:11:59,921 --> 00:12:04,587 {\an1}AND SOMEHOW PERSUADED BRUCE TO LET HIM TAKE COMMAND OF A BAND 202 00:12:04,621 --> 00:12:07,687 {\an1}OF FREE FRENCH RESISTANCE FIGHTERS IN THE VILLAGE 203 00:12:07,721 --> 00:12:11,687 {\an1}OF RAMBOUILLET, WHICH CONTROLLED ONE OF THE TWO MAIN ROADS 204 00:12:11,721 --> 00:12:13,321 LEADING TO PARIS. 205 00:12:13,354 --> 00:12:15,287 {\an1}["LE MARSEILLAISE" PLAYING] 206 00:12:15,321 --> 00:12:19,621 {\an1}ON AUGUST 24th, HEMINGWAY JOINED THE FRENCH ARMY AS IT BEGAN 207 00:12:19,654 --> 00:12:22,221 {\an1}ITS TRIUMPHAL MARCH INTO THE CAPITAL, 208 00:12:22,254 --> 00:12:25,387 {\an1}ARMED WITH THE INTELLIGENCE HE, BRUCE, 209 00:12:25,421 --> 00:12:29,454 {\an1}AND THEIR IRREGULARS HAD GLEANED ABOUT GERMAN DEFENSES. 210 00:12:29,487 --> 00:12:31,854 [CROWDS CHEERING] 211 00:12:34,021 --> 00:12:38,187 {\an1}AT HIS FIRST GLIMPSE OF PARIS, HEMINGWAY REMEMBERED, "I HAD 212 00:12:38,221 --> 00:12:41,687 {\an1}"A FUNNY CHOKE IN MY THROAT AND HAD TO CLEAN MY GLASSES 213 00:12:41,721 --> 00:12:46,321 {\an1}"BECAUSE THERE, NOW BELOW US, GRAY AND ALWAYS BEAUTIFUL, 214 00:12:46,354 --> 00:12:50,887 {\an1}WAS SPREAD THE CITY I LOVE BEST IN ALL THE WORLD." 215 00:12:53,554 --> 00:12:56,587 {\an1}WOMAN: WE WERE LIBERATED BY ERNEST HEMINGWAY. 216 00:12:56,621 --> 00:13:00,387 {\an1}ERNEST HEMINGWAY WAS THE FIRST AMERICAN THAT WE SAW, THAT WE 217 00:13:00,421 --> 00:13:02,221 {\an1}KNEW WHO ARRIVED IN PARIS. 218 00:13:02,254 --> 00:13:06,221 {\an1}HE ARRIVED WITH THE FIRST ONES WITH GENERAL LECLERC. 219 00:13:06,254 --> 00:13:10,021 {\an7}I HEARD A NOISE OUT IN THE STREET IN THE RUE DE L'ODEON 220 00:13:10,054 --> 00:13:13,421 {\an7}AND LOOKED OUT THE WINDOW AND I SAW A STRING OF JEEPS 221 00:13:13,454 --> 00:13:17,521 {\an7}WITH THESE MEN IN THEM AND THEN I HEARD PEOPLE CALLING 222 00:13:17,554 --> 00:13:20,521 {\an1}AND CALLING, "SYLVIA, SYLVIA," AND I HEARD THIS BIG VOICE 223 00:13:20,554 --> 00:13:25,587 {\an1}SAYING, "SYLVIA, SYLVIA," AND IT WAS ERNEST HEMINGWAY 224 00:13:25,621 --> 00:13:29,887 {\an1}AND HIS MEN, AND I RUSHED DOWN THE STAIRS AND HE PICKED ME UP, 225 00:13:29,921 --> 00:13:32,054 {\an1}YOU KNOW, AND SWUNG ME AROUND AND SWUNG ME AROUND. 226 00:13:32,087 --> 00:13:33,587 [GUNFIRE] 227 00:13:33,621 --> 00:13:35,354 {\an1}NARRATOR: BUT THERE WERE STILL POCKETS 228 00:13:35,387 --> 00:13:37,287 {\an1}OF GERMAN RESISTANCE. 229 00:13:37,321 --> 00:13:39,387 {\an1}[MAN SHOUTING INDISTINCTLY] 230 00:13:39,421 --> 00:13:41,921 [GUNFIRE] 231 00:13:41,954 --> 00:13:44,687 {\an1}BEACH: THEN HE SAID, "WHAT CAN I DO FOR YOU?" 232 00:13:44,721 --> 00:13:47,687 {\an1}AND WE SAID, "OH, LIBERATE US! LIBERATE US!" 233 00:13:47,721 --> 00:13:52,354 {\an1}BECAUSE THESE... THE ENEMY WERE STILL FIRING FROM THE ROOFS 234 00:13:52,387 --> 00:13:55,454 {\an1}AND THE RESISTANCE WAS FIRING ALSO FROM THE ROOFS, AND THIS 235 00:13:55,487 --> 00:13:58,221 {\an1}SHOOTING WAS GOING ON ALL THE TIME, DAY AND NIGHT. 236 00:13:58,254 --> 00:14:00,054 {\an1}SO, ERNEST HEMINGWAY SAID, "OH, YES." 237 00:14:00,087 --> 00:14:01,754 {\an1}AND SO HE BROUGHT HIS MEN UP, 238 00:14:01,787 --> 00:14:03,787 AND THEY ALL WENT UP ON THE ROOF AND WE HEARD 239 00:14:03,821 --> 00:14:06,987 {\an1}GREAT DEAL OF SHOOTING GOING ON FOR A FEW MINUTES AND THEN 240 00:14:07,021 --> 00:14:08,487 {\an1}THE SHOOTING STOPPED FOREVER. 241 00:14:08,521 --> 00:14:10,721 {\an1}WE HAD NO MORE SHOOTING AFTER THAT. 242 00:14:10,754 --> 00:14:13,321 {\an1}THEN WE ASKED ERNEST HEMINGWAY IF HE WOULDN'T STAY AND HAVE 243 00:14:13,354 --> 00:14:16,154 {\an1}SOMETHING WITH US, SOME DRINK AND HE SAID, "OH, NO. 244 00:14:16,187 --> 00:14:19,387 {\an1}I HAVE TO LIBERATE THE CELLAR OF THE RITZ." 245 00:14:20,821 --> 00:14:23,987 {\an1}NARRATOR: HEMINGWAY, COLONEL BRUCE, AND THEIR OUTFIT HEADED 246 00:14:24,021 --> 00:14:27,587 {\an1}FOR THE RITZ, WHICH HAD BEEN HEMINGWAY'S FAVORITE HOTEL 247 00:14:27,621 --> 00:14:29,587 BEFORE THE WAR. 248 00:14:29,621 --> 00:14:33,954 {\an1}THERE, THEY WERE GREETED BY THE BARTENDER WITH 50 MARTINIS, 249 00:14:33,987 --> 00:14:38,487 {\an1}FOLLOWED BY WHAT BRUCE REMEMBERED AS "A SPLENDID DINNER." 250 00:14:38,521 --> 00:14:42,787 {\an1}AS SOON AS SHE COULD, MARY WELSH ARRIVED FROM LONDON 251 00:14:42,821 --> 00:14:45,987 {\an1}AND MOVED INTO HIS ROOM IN THE RITZ. 252 00:14:46,021 --> 00:14:48,854 {\an1}HEMINGWAY WROTE HIS SON PATRICK THAT HE HAD A NEW 253 00:14:48,887 --> 00:14:53,121 {\an1}COMPANION NOW, A "FINE GIRL," WHO HAD LOOKED AFTER HIM, 254 00:14:53,154 --> 00:14:57,454 {\an1}"IN WORST TIME EVER HAD. THINK YOU WOULD LIKE HER." 255 00:14:57,487 --> 00:15:01,221 {\an1}HE TOOK HER AROUND PARIS TO SEE THE PLACES HE AND HIS 256 00:15:01,254 --> 00:15:05,654 {\an1}FIRST WIFE, HADLEY, HAD LOVED, TOLD HER THAT NO MATTER HOW 257 00:15:05,687 --> 00:15:09,354 {\an1}MANY MEN HAD LOVED HER HE LOVED HER MORE, AND TALKED 258 00:15:09,387 --> 00:15:12,321 {\an1}ABOUT THE NEW FAMILY HE HOPED TO START WITH HER. 259 00:15:12,354 --> 00:15:14,121 {\an1}HE HAD 3 SONS, HE SAID, 260 00:15:14,154 --> 00:15:17,821 AND BADLY WANTED A DAUGHTER, TOO. 261 00:15:17,854 --> 00:15:21,354 {\an1}MARY WAS LESS CERTAIN OF THEIR FUTURE TOGETHER. 262 00:15:21,387 --> 00:15:23,287 {\an1}ERNEST WAS SO ARDENT 263 00:15:23,321 --> 00:15:26,954 {\an1}AND INSISTED ON SUCH COMPLETE DEVOTION, SHE REMEMBERED, 264 00:15:26,987 --> 00:15:29,521 {\an1}THAT SHE SOMETIMES FELT OVERWHELMED. 265 00:15:29,554 --> 00:15:33,687 {\an1}HE COULD BE GENTLE AND KIND, BUT HE WAS ALSO UNPREDICTABLE 266 00:15:33,721 --> 00:15:35,654 {\an1}AND EASILY ANGERED. 267 00:15:35,687 --> 00:15:37,587 {\an1}AND HE DRANK TOO MUCH. 268 00:15:37,621 --> 00:15:40,187 {\an1}WHEN SHE COMPLAINED THAT HE AND HIS DRUNKEN FRIENDS 269 00:15:40,221 --> 00:15:43,921 {\an1}FROM THE 22nd REGIMENT WERE MAKING TOO MUCH NOISE, 270 00:15:43,954 --> 00:15:47,087 HE SLAPPED HER, THEN APOLOGIZED AND SWORE IT 271 00:15:47,121 --> 00:15:49,354 {\an1}WOULD NEVER HAPPEN AGAIN. 272 00:15:49,387 --> 00:15:53,921 {\an1}BUT ANOTHER EVENING, HE PLACED A PHOTOGRAPH OF HER ABSENT HUSBAND 273 00:15:53,954 --> 00:15:56,687 {\an1}IN THE TOILET BOWL AND SHOT IT TO PIECES 274 00:15:56,721 --> 00:15:59,854 {\an1}WITH A MACHINE PISTOL, SHATTERING THE PORCELAIN 275 00:15:59,887 --> 00:16:02,754 {\an1}AND FLOODING THE FLOORS BELOW. 276 00:16:02,787 --> 00:16:05,854 {\an1}MARY AGREED ONLY TO TRY LIVING WITH HIM 277 00:16:05,887 --> 00:16:08,421 {\an1}WHEN THE WAR WAS OVER. 278 00:16:08,454 --> 00:16:10,221 {\an1}BEEGEL: HE ALWAYS HAD TO HAVE A WIFE. 279 00:16:10,254 --> 00:16:12,121 {\an1}HE HATED TO BE ALONE. 280 00:16:12,154 --> 00:16:15,754 {\an7}AND THAT MARY WASN'T SURE, THAT SHE REALLY WANTED HIM TO 281 00:16:15,787 --> 00:16:18,221 {\an7}STOP DRINKING BEFORE SHE WOULD COMMIT. 282 00:16:18,254 --> 00:16:20,687 {\an1}SHE CALLED IT "OVER-DRINKING." 283 00:16:20,721 --> 00:16:24,187 {\an1}NARRATOR: ONE DAY THAT AUTUMN, A STAFF SERGEANT WHO HAD 284 00:16:24,221 --> 00:16:27,221 {\an1}WRITTEN SOME SHORT STORIES KNOCKED ON THE DOOR 285 00:16:27,254 --> 00:16:29,387 {\an1}OF HEMINGWAY'S HOTEL ROOM. 286 00:16:29,421 --> 00:16:33,621 {\an1}HE'D NEVER MET HEMINGWAY AND DIDN'T KNOW HOW HE'D BE RECEIVED, 287 00:16:33,654 --> 00:16:36,587 {\an1}BUT HE WAS USHERED IN AND GIVEN A DRINK. 288 00:16:36,621 --> 00:16:40,387 {\an1}HEMINGWAY HAD SEEN ONE OF HIS PUBLISHED STORIES, ASKED TO 289 00:16:40,421 --> 00:16:45,421 {\an1}SEE ANOTHER, LIKED IT, AND WROTE HIM A LETTER SAYING SO. 290 00:16:45,454 --> 00:16:49,821 {\an1}AFTERWARDS, THE YOUNG MAN TOLD A FRIEND HOW THRILLED HE'D BEEN. 291 00:16:49,854 --> 00:16:54,821 {\an1}HEMINGWAY WAS A "GOOD GUY" HE SAID, MODEST ABOUT HIS OWN EMINENCE, 292 00:16:54,854 --> 00:16:57,954 AND SURPRISINGLY "SOFT" DESPITE THE HARDNESS 293 00:16:57,987 --> 00:17:00,887 {\an1}OF HIS CELEBRATED STYLE. 294 00:17:00,921 --> 00:17:04,854 {\an1}JEROME DAVID SALINGER WOULD NEVER FORGET HEMINGWAY'S 295 00:17:04,887 --> 00:17:07,587 {\an1}KINDNESS AND GENEROSITY. 296 00:17:11,987 --> 00:17:15,654 {\an1}IN LATE FALL, HEMINGWAY REJOINED BUCK LANHAM'S 297 00:17:15,687 --> 00:17:19,354 {\an1}22nd REGIMENT AS IT MOVED TOWARD THE FIERCELY DEFENDED 298 00:17:19,387 --> 00:17:21,587 GERMAN BORDER. 299 00:17:21,621 --> 00:17:25,587 {\an1}ONE EVENING, HE, LANHAM, AND 10 OTHERS WERE HAVING DINNER 300 00:17:25,621 --> 00:17:30,021 {\an1}TOGETHER IN A FARMHOUSE WHEN AN .88 SHELL SMASHED THROUGH 301 00:17:30,054 --> 00:17:33,354 {\an1}ONE WALL AND OUT THE OTHER WITHOUT EXPLODING. 302 00:17:33,387 --> 00:17:37,121 {\an1}THE MEN RUSHED TO THE CELLAR, FEARFUL ANOTHER ROUND WAS 303 00:17:37,154 --> 00:17:39,354 HEADED THEIR WAY. 304 00:17:39,387 --> 00:17:42,187 {\an1}HEMINGWAY CONTINUED EATING. 305 00:17:44,487 --> 00:17:49,287 {\an1}IN MID-NOVEMBER, THE 22nd ENTERED THE HURTGEN FOREST. 306 00:17:49,321 --> 00:17:53,621 {\an1}THE BATTLE FOR THIS DENSE, 70-SQUARE-MILE EVERGREEN WOODS, 307 00:17:53,654 --> 00:17:57,287 {\an1}SOUTH OF THE GERMAN CITY OF AACHEN, HAD BEEN GOING ON 308 00:17:57,321 --> 00:17:59,154 FOR 2 MONTHS. 309 00:17:59,187 --> 00:18:04,354 {\an1}IT WAS A FRIGHTFUL PLACE TO FIGHT... TREES 100 FEET TALL 310 00:18:04,387 --> 00:18:08,387 {\an1}AND ONLY A HANDFUL OF ROADS, HEAVILY MINED AND METICULOUSLY 311 00:18:08,421 --> 00:18:10,854 {\an1}TARGETED BY ENEMY GUNNERS... [EXPLOSION] 312 00:18:10,887 --> 00:18:13,021 AND GERMAN SHELLS THAT EXPLODED 313 00:18:13,054 --> 00:18:17,221 {\an1}AMONG THE TREETOPS, SENDING SHRAPNEL AND SHARDS OF WOOD 314 00:18:17,254 --> 00:18:18,554 {\an1}INTO THE MEN HUDDLED BELOW. 315 00:18:18,587 --> 00:18:20,554 {\an1}MAN: TAKE COVER! 316 00:18:20,587 --> 00:18:24,054 {\an1}MAN, AS HEMINGWAY: THE WOODS WERE CLOSE-PLANTED FIR TREES, 317 00:18:24,087 --> 00:18:26,754 {\an1}AND THE SHELL-BURSTS TORE AND SMASHED THEM, 318 00:18:26,787 --> 00:18:29,921 {\an1}AND THE SPLINTERS FROM THE TREE BURSTS WERE LIKE JAVELINS 319 00:18:29,954 --> 00:18:34,354 {\an1}IN THE HALF-LIGHT OF THE FOREST, AND THE MEN WERE SHOUTING 320 00:18:34,387 --> 00:18:36,854 {\an1}AND CALLING NOW TO TAKE THE CURSE OFF THE DARKNESS 321 00:18:36,887 --> 00:18:41,121 OF THE FOREST AND SHOOTING AND KILLING KRAUTS 322 00:18:41,154 --> 00:18:43,587 {\an1}AND MOVING AHEAD NOW. 323 00:18:45,487 --> 00:18:49,921 {\an1}NARRATOR: AMERICAN LOSSES WERE STAGGERING. 324 00:18:49,954 --> 00:18:54,021 {\an1}LANHAM'S REGIMENT WAS ASSIGNED TO CAPTURE A SINGLE VILLAGE 325 00:18:54,054 --> 00:18:57,221 {\an1}AND 6,000 YARDS OF FOREST. 326 00:18:57,254 --> 00:19:02,754 {\an1}IN DOING SO, THEY WOULD LOSE 2,733 MEN. 327 00:19:04,687 --> 00:19:09,087 {\an1}DURING ONE ESPECIALLY SAVAGE FIREFIGHT, LANHAM REMEMBERED, 328 00:19:09,121 --> 00:19:13,621 {\an1}"MEN WERE FIRING AND ADVANCING AND DROPPING AND FIRING. 329 00:19:13,654 --> 00:19:17,287 {\an1}"THEN I SAW ERNEST. HE WAS MOVING WITH THE MOVING WAVE, 330 00:19:17,321 --> 00:19:19,921 {\an1}"BUT I NEVER SAW HIM HIT THE GROUND. 331 00:19:19,954 --> 00:19:23,954 {\an1}AND THIS TIME THERE WAS NO QUESTION AT ALL," LANHAM SAID, 332 00:19:23,987 --> 00:19:27,887 {\an1}"THAT HE WAS ARMED AND USING THOSE ARMS." 333 00:19:30,254 --> 00:19:34,821 {\an1}HEMINGWAY HAD WITNESSED SEVERAL WARS FIRSTHAND, 334 00:19:34,854 --> 00:19:37,421 {\an1}BUT THIS WAS THE FIRST IN WHICH HE ACTED 335 00:19:37,454 --> 00:19:40,821 AS A FULL-FLEDGED COMBAT SOLDIER. 336 00:19:40,854 --> 00:19:46,787 {\an1}FIRING A MACHINE GUN ALONGSIDE THE TROOPS EXHILARATED HIM. 337 00:19:46,821 --> 00:19:50,621 {\an1}THAT NIGHT, HE WROTE MARY THAT THE DREAD HE'D FELT 338 00:19:50,654 --> 00:19:55,254 {\an1}AT RETURNING TO THE BATTLEFIELD HAD SUDDENLY LIFTED. 339 00:19:55,287 --> 00:19:57,463 {\an1}MAN, AS HEMINGWAY: "YOU KNOW HOW I WAS SPOOKED OF THE BATTLE 340 00:19:57,487 --> 00:19:59,354 {\an1}"BEFORE IT STARTED. 341 00:19:59,387 --> 00:20:00,921 {\an1}"BUT THEN ABOUT YESTERDAY 342 00:20:00,954 --> 00:20:03,621 {\an1}"AND THE DAY BEFORE, JUST LIKE A GIFT, 343 00:20:03,654 --> 00:20:09,087 {\an1}"I GOT THE OLD FEELING OF IMMORTALITY BACK I USED TO HAVE WHEN I WAS 19, 344 00:20:09,121 --> 00:20:12,321 {\an1}"RIGHT IN THE MIDDLE OF A REALLY BAD SHELLING, 345 00:20:12,354 --> 00:20:15,054 "NOT THE CAGEY ASSESSMENT OF CHANCES, 346 00:20:15,087 --> 00:20:17,787 "NOR THE ANGRY, THE HELL-WITH-IT FEELING, 347 00:20:17,821 --> 00:20:20,921 {\an1}"NOR THE THROW-EVERYTHING- AWAY FEELING. 348 00:20:20,954 --> 00:20:24,354 {\an1}JUST THE PURE OLD THING WE USED TO OPERATE ON." 349 00:20:26,954 --> 00:20:29,287 NARRATOR: BUT HE HAD HAD ENOUGH. 350 00:20:29,321 --> 00:20:32,654 {\an1}HE LEFT THE WAR AND WENT HOME TO CUBA. 351 00:20:34,754 --> 00:20:39,421 {\an1}THE SIGHTS HE'D SEEN IN THE HURTGEN FOREST... A DOG TEARING 352 00:20:39,454 --> 00:20:41,787 {\an1}AT A CHARRED GERMAN CORPSE, 353 00:20:41,821 --> 00:20:45,954 {\an1}A GI's BODY FLATTENED BY TANKS AND OTHER VEHICLES... 354 00:20:45,987 --> 00:20:49,587 {\an1}WOULD HAUNT HIS DREAMS FOR THE REST OF HIS LIFE. 355 00:21:04,354 --> 00:21:09,221 {\an1}MAN, AS HEMINGWAY: "APRIL 2, 1945. DEAR BUCK. 356 00:21:09,254 --> 00:21:13,321 {\an1}"IT IS A HELL OF A THING GOING AWAY FROM THE 22nd. 357 00:21:13,354 --> 00:21:16,321 {\an1}"IT PROBABLY SOUNDS WET, BUT I WAS AND AM 358 00:21:16,354 --> 00:21:18,787 {\an1}"ABSOLUTELY HOMESICK FOR THE REGIMENT, 359 00:21:18,821 --> 00:21:21,987 "AND I MISS YOU VERY BADLY, BUCK. 360 00:21:22,021 --> 00:21:24,954 {\an1}"I DON'T GIVE A DAMN ABOUT WRITING. 361 00:21:24,987 --> 00:21:28,321 {\an1}"WILL HAVE TO GET OVER THAT. I GUESS I WILL. 362 00:21:28,354 --> 00:21:31,887 "HAVE GOTTEN OVER EVERYTHING ELSE. 363 00:21:31,921 --> 00:21:35,187 {\an1}"CERTAINLY HAVE THE BLACK ASS TODAY. 364 00:21:35,221 --> 00:21:38,621 {\an1}"I MISS MARY SO MUCH, IT MAKES ME SICK. 365 00:21:38,654 --> 00:21:41,721 {\an1}"ALWAYS BEFORE, WE HAD OUR DOUBLE DEUCE PROBLEMS AND SOME 366 00:21:41,754 --> 00:21:44,887 {\an1}"SORT OF FIGHT GOING ON WHEN I WAS AWAY FROM HER AND I HAD 367 00:21:44,921 --> 00:21:46,987 {\an1}YOUR COMPANIONSHIP." 368 00:21:48,721 --> 00:21:53,021 {\an1}NARRATOR: IN THE SPRING OF 1945, WAITING FOR MARY WELSH 369 00:21:53,054 --> 00:21:55,921 {\an1}TO JOIN HIM AT THE FINCA, HIS HOME IN THE HILLS 370 00:21:55,954 --> 00:22:00,287 {\an1}OVERLOOKING HAVANA, ERNEST HEMINGWAY FEARED HE WOULD 371 00:22:00,321 --> 00:22:03,321 {\an1}NEVER BE ABLE TO WRITE AGAIN. 372 00:22:03,354 --> 00:22:05,287 {\an1}BEEGEL: WHEN HE CAME HOME FROM THE WAR, 373 00:22:05,321 --> 00:22:11,121 {\an1}I THINK HE HAD JUST LOTS AND LOTS OF TRAUMA AND HE HAD SEEN 374 00:22:11,154 --> 00:22:15,554 {\an1}SO MANY THINGS THAT HE COULD NOT UN-SEE. 375 00:22:15,587 --> 00:22:22,554 {\an7}AND THEN, HE'S AN ALCOHOLIC. SO WHAT DO ALCOHOLICS DO WHEN 376 00:22:22,587 --> 00:22:25,421 {\an7}THEY HAVE THINGS IN THEIR LIVES THAT THEY CAN'T UN-SEE 377 00:22:25,454 --> 00:22:27,521 {\an1}IS THEY DRINK, AND HE WRITES TO BUCK LANHAM LIKE, 378 00:22:27,554 --> 00:22:30,354 {\an1}"I'M DRINKING TO GO TO SLEEP AT NIGHT. 379 00:22:30,387 --> 00:22:32,254 {\an1}"I'M DRINKING WHEN I WAKE UP. 380 00:22:32,287 --> 00:22:35,521 {\an1}"I GOT TO STOP DRINKING OR MARY WON'T COME AND MARRY ME." 381 00:22:35,554 --> 00:22:39,587 {\an1}BUT I MEAN, IT'S... IT'S A DISASTER. 382 00:22:39,621 --> 00:22:41,687 {\an1}KARR: THE PROBLEM WITH ALCOHOLISM, AND I DON'T KNOW 383 00:22:41,721 --> 00:22:43,287 {\an1}WHY IT WORKS LIKE THIS. 384 00:22:43,321 --> 00:22:47,254 {\an1}IT MAKES YOU A LIAR, PRIMARILY TO YOURSELF. 385 00:22:47,287 --> 00:22:49,754 {\an1}YOU'RE ALWAYS LYING TO YOURSELF. 386 00:22:49,787 --> 00:22:52,754 {\an7}AND YOU'RE TRYING ALL THESE DIFFERENT METHODS 387 00:22:52,787 --> 00:22:54,587 {\an8}TO TRY TO QUIT. 388 00:22:54,621 --> 00:22:55,997 {\an7}YOU'RE ONLY DRINKING BEER. YOU'RE ONLY DRINKING WINE. 389 00:22:56,021 --> 00:22:57,454 {\an1}YOU'RE ONLY DRINKING AFTER 5:00. 390 00:22:57,487 --> 00:22:59,621 YOU'RE ONLY DRINKING BEFORE 5:00. 391 00:22:59,654 --> 00:23:03,654 {\an1}BUT WITH THAT MASCULINITY, WITH THAT STOICISM, 392 00:23:03,687 --> 00:23:07,454 {\an1}HEMINGWAY WAS DOOMED, IN A WAY. 393 00:23:07,487 --> 00:23:10,554 {\an1}[PIANO PLAYING "I CAN'T GIVE YOU ANYTHING BUT LOVE"] 394 00:23:10,587 --> 00:23:13,954 {\an1}NARRATOR: MARY EVENTUALLY ARRIVED IN HAVANA, HAVING 395 00:23:13,987 --> 00:23:17,487 {\an1}REQUESTED A YEAR'S SABBATICAL FROM HER JOB AT "TIME." 396 00:23:17,521 --> 00:23:20,654 {\an1}SHE WAS IN LOVE WITH HEMINGWAY BUT STILL UNSURE WHETHER SHE 397 00:23:20,687 --> 00:23:22,821 SHOULD MARRY HIM. 398 00:23:22,854 --> 00:23:26,654 UNA MAE CARLISLE: ♪ I CAN'T GIVE YOU ANYTHING 399 00:23:26,687 --> 00:23:32,954 {\an1}♪ BUT LOVE, BABY 400 00:23:32,987 --> 00:23:40,987 {\an1}♪ THAT'S THE ONLY THING I'VE PLENTY OF, OH, BABY ♪ 401 00:23:41,021 --> 00:23:43,121 {\an1}FATS WALLER: YEAH, WHAT AM I SUPPOSED TO DO? 402 00:23:43,154 --> 00:23:46,754 ♪ DREAM AWHILE, SCHEME AWHILE ♪ 403 00:23:46,787 --> 00:23:48,221 {\an1}WALLER: YOU'RE WRONG. 404 00:23:48,254 --> 00:23:50,654 {\an1}♪ YOU'RE SURE TO FIND 405 00:23:50,687 --> 00:23:52,854 {\an1}WALLER: THAT'S WHAT YOU THINK. I'M SURE TO FIND. 406 00:23:52,887 --> 00:23:57,954 {\an1}♪ HAPPINESS AND I GUESS 407 00:23:57,987 --> 00:24:02,787 {\an1}♪ ALL THOSE THINGS YOU'RE SURE TO PINE FOR... ♪ 408 00:24:02,821 --> 00:24:05,787 {\an1}NARRATOR: HE SAW TO IT THAT SHE HAD SPANISH LESSONS SO THAT 409 00:24:05,821 --> 00:24:09,587 {\an1}SHE COULD RUN THE FINCA, TAUGHT HER DEEP-SEA FISHING SO THAT 410 00:24:09,621 --> 00:24:13,721 {\an1}SHE COULD BE HIS COMPANION, ENCOURAGED HER TO QUIT HER JOB 411 00:24:13,754 --> 00:24:17,421 {\an1}ALTOGETHER SO THAT SHE COULD DEVOTE HERSELF FULLY TO HIM 412 00:24:17,454 --> 00:24:20,554 {\an1}AS HIS FIRST AND SECOND WIVES HAD DONE 413 00:24:20,587 --> 00:24:24,887 {\an1}AND MARTHA GELLHORN HAD NOT DONE. 414 00:24:24,921 --> 00:24:29,221 {\an1}HEMINGWAY WANTED HIS WIFE TO BE BOTH "COMPLETELY OBEDIENT 415 00:24:29,254 --> 00:24:32,754 {\an1}AND SEXUALLY LOOSE," SHE CONFIDED TO HER DIARY. 416 00:24:32,787 --> 00:24:36,154 {\an1}SHE ENJOYED THE SEXUAL PART, CUT HER HAIR SHORT 417 00:24:36,187 --> 00:24:39,654 {\an1}AND BLEACHED IT PLATINUM BECAUSE IT EXCITED HIM, 418 00:24:39,687 --> 00:24:42,321 {\an1}AND SOMETIMES PRETENDED THAT SHE WAS A BOY 419 00:24:42,354 --> 00:24:44,487 {\an1}AND HE WAS A GIRL. 420 00:24:44,521 --> 00:24:48,154 {\an1}HE DYED HIS HAIR, TOO. 421 00:24:48,187 --> 00:24:54,254 {\an1}WALLER: ♪ I CAN'T DISH OUT ANYTHING BUT LOVE ♪ 422 00:24:54,287 --> 00:24:55,954 {\an1}♪ BABY... 423 00:24:55,987 --> 00:24:58,587 {\an1}DEARBORN: I THINK IT'S VERY BRAVE TO SAY 424 00:24:58,621 --> 00:25:01,287 WHAT YOUR SEXUAL PREFERENCES ARE. 425 00:25:01,321 --> 00:25:03,954 {\an1}HE REALLY HAD A THING ABOUT ANDROGYNY, 426 00:25:03,987 --> 00:25:07,621 {\an1}AND HE LIKED TO SWITCH SEX ROLES IN BED. 427 00:25:07,654 --> 00:25:09,954 {\an7}AND HE TELLS MARY, YOU KNOW, "LET'S PLAY AROUND." 428 00:25:09,987 --> 00:25:11,421 {\an7}"I'M GONNA CALL YOU 'PETE.' 429 00:25:11,454 --> 00:25:13,087 {\an7}YOU CALL ME 'CATHERINE, '" 430 00:25:13,121 --> 00:25:15,987 {\an7}YOU KNOW, AND THEY GO BACK AND FORTH ON THIS. 431 00:25:16,021 --> 00:25:19,087 {\an1}AND THEY PLAY AROUND WITH IT, AND I'M NOT SURE WHAT THEY 432 00:25:19,121 --> 00:25:24,754 {\an1}DO IN BED, BUT SOMEHOW SHE'S SATISFYING THAT INTENSE DESIRE 433 00:25:24,787 --> 00:25:27,587 {\an1}OF HIS TO PLAY WITH SEX ROLES THAT WAY. 434 00:25:27,621 --> 00:25:30,787 {\an1}WALLER: ♪ OH, TILL THAT LUCKY DAY... ♪ 435 00:25:30,821 --> 00:25:33,554 {\an1}DEARBORN: IT TOOK A LOT OF GUTS FOR HIM. 436 00:25:33,587 --> 00:25:37,554 {\an1}AND IN A WAY, HE WANTED TO BE A WOMAN WHO LOVED 437 00:25:37,587 --> 00:25:39,454 ANOTHER WOMAN. 438 00:25:39,487 --> 00:25:42,587 {\an1}NOW THIS KIND OF THING, IT'S ALL ON A SPECTRUM, RIGHT? 439 00:25:42,621 --> 00:25:45,554 {\an1}BUT THEN, IT WAS UNHEARD OF. 440 00:25:49,754 --> 00:25:53,121 {\an1}NARRATOR: "IN BED," SHE WROTE, "HE HAS CERTAINLY BEEN BETTER 441 00:25:53,154 --> 00:25:56,187 {\an1}FOR ME THAN ANY OTHER MAN," 442 00:25:56,221 --> 00:26:00,421 {\an1}BUT SHE CHAFED UNDER WHAT SHE CALLED HIS "DICTATORSHIP." 443 00:26:00,454 --> 00:26:04,354 {\an1}SHE DISLIKED HIS LECTURES ON HOW THINGS MUST BE DONE, 444 00:26:04,387 --> 00:26:07,887 {\an1}DETECTED THE GHOSTLY PRESENCE OF MARTHA GELLHORN IN EVERY 445 00:26:07,921 --> 00:26:10,921 {\an1}ROOM OF THE HOUSE, FELT CUT OFF FROM HER FRIENDS 446 00:26:10,954 --> 00:26:12,754 AND FORMER LIFE. 447 00:26:12,787 --> 00:26:15,021 {\an1}"NOTHING IS MINE," SHE WROTE. 448 00:26:15,054 --> 00:26:18,587 {\an1}"THE MAN IS HIS OWN WITH VARIOUS ADJUNCTS... 449 00:26:18,621 --> 00:26:21,887 {\an1}"HIS WRITING, HIS CHILDREN, HIS CATS. 450 00:26:21,921 --> 00:26:26,454 {\an1}THE STRIP OF BED WHERE I LIE IS NOT MINE." 451 00:26:26,487 --> 00:26:29,387 {\an1}WOMAN AS WELSH: "CAN ONLY CONCLUDE THAT I'D BE AN IDIOT 452 00:26:29,421 --> 00:26:32,021 {\an1}"TO STAY HERE AND MARRY PAPA. 453 00:26:32,054 --> 00:26:34,987 {\an1}"I'D BETTER GO WHILE THE GOING IS POSSIBLE 454 00:26:35,021 --> 00:26:38,154 {\an1}AND CAN BE WITHOUT TOO MUCH BITTERNESS." 455 00:26:38,187 --> 00:26:43,187 {\an1}NARRATOR: BUT SHE STAYED, AND IN THE SPRING OF 1946, 456 00:26:43,221 --> 00:26:47,221 {\an1}AFTER BOTH HAD LEGALLY SHED THEIR SPOUSES, MARY WELSH 457 00:26:47,254 --> 00:26:49,954 {\an1}MARRIED ERNEST HEMINGWAY. 458 00:26:49,987 --> 00:26:54,187 {\an1}BEFORE THE WEDDING, SHE HAD BEEN "AN ENTITY," SHE REMEMBERED. 459 00:26:54,221 --> 00:26:58,687 AFTERWARDS, SHE BECAME "AN APPENDAGE." 460 00:26:58,721 --> 00:27:02,287 {\an1}OVER AND OVER AGAIN, THEIR UNION FOLLOWED THE SAME 461 00:27:02,321 --> 00:27:03,987 {\an1}TURBULENT PATTERN. 462 00:27:04,021 --> 00:27:06,387 HE WOULD INSULT OR HUMILIATE HER. 463 00:27:06,421 --> 00:27:08,454 {\an1}SHE WOULD THREATEN TO LEAVE. 464 00:27:08,487 --> 00:27:11,954 {\an1}HE WOULD BEG HER TO STAY AND SOMETIMES THREATEN 465 00:27:11,987 --> 00:27:14,387 TO KILL HIMSELF IF SHE DIDN'T. 466 00:27:14,421 --> 00:27:18,287 {\an1}THEY WOULD RECONCILE IN BED AND THEN START THE CYCLE 467 00:27:18,321 --> 00:27:20,721 ALL OVER AGAIN. 468 00:27:20,754 --> 00:27:25,054 {\an1}MARY SOMETIMES LIKED TO CALL HERSELF "THE SHORT, HAPPY WIFE 469 00:27:25,087 --> 00:27:27,154 {\an1}OF ERNEST HEMINGWAY." 470 00:27:30,954 --> 00:27:33,954 {\an1}EDNA O'BRIEN: MAYBE WRITERS DISIMPROVE AS THEY AGE 471 00:27:33,987 --> 00:27:36,354 {\an1}BECAUSE THEY LIVE WITH A PERMANENT FEAR THAT 472 00:27:36,387 --> 00:27:39,254 {\an1}THE GIFT HAS GONE. 473 00:27:39,287 --> 00:27:41,954 {\an1}IT GETS WORSE WITH AGE. 474 00:27:41,987 --> 00:27:46,554 {\an7}WHAT HAPPENS IN MID-LIFE, IN YOUTH AND THEN MID-LIFE, 475 00:27:46,587 --> 00:27:50,887 {\an7}THE SPASMS OF, YOU KNOW, THE FAMOUS CLICHE, "THE BLANK PAGE," 476 00:27:50,921 --> 00:27:54,921 {\an1}HAPPENS WITHIN ONE MORNING, A WRITER GETS UP 477 00:27:54,954 --> 00:27:58,954 {\an1}AND THINKS, "AH, ONE LINE, JUST ONE LINE 478 00:27:58,987 --> 00:28:00,987 AND OFF YOU ARE." 479 00:28:01,021 --> 00:28:03,654 {\an1}IT DOESN'T HAPPEN AS MUCH IN OLD AGE. 480 00:28:03,687 --> 00:28:05,787 IT DOES NOT. 481 00:28:05,821 --> 00:28:10,454 {\an1}ONLY BY SHEER PERSEVERANCE. 482 00:28:12,221 --> 00:28:15,554 {\an1}NARRATOR: HEMINGWAY'S WRITING WAS NOT GOING WELL. 483 00:28:15,587 --> 00:28:19,954 {\an1}IT HAD BEEN 6 YEARS SINCE HE'D PUBLISHED "FOR WHOM THE BELL TOLLS." 484 00:28:19,987 --> 00:28:23,154 {\an1}IT WOULD BE 4 MORE YEARS BEFORE HE MANAGED TO PUBLISH 485 00:28:23,187 --> 00:28:25,154 ANOTHER NOVEL. 486 00:28:25,187 --> 00:28:26,987 {\an1}[TYPEWRITER KEYS CLICKING] 487 00:28:27,021 --> 00:28:31,254 {\an1}HE WAS ONLY 46 BUT HAD BEGUN TO BE SEEN BY CRITICS AS 488 00:28:31,287 --> 00:28:33,754 {\an1}A RELIC OF THE 1920s. 489 00:28:33,787 --> 00:28:36,154 {\an1}WHEN WOULD-BE BIOGRAPHERS CONTACTED HIM, 490 00:28:36,187 --> 00:28:38,087 {\an1}HE FENDED THEM OFF. 491 00:28:38,121 --> 00:28:40,954 {\an1}HE RESENTED THE IMPLICATION THAT HIS CAREER WAS 492 00:28:40,987 --> 00:28:43,487 {\an1}NEARING ITS CLOSE. 493 00:28:43,521 --> 00:28:47,354 {\an1}HE HAD AMBITIOUS PLANS... A 3-VOLUME WORK 494 00:28:47,387 --> 00:28:50,854 {\an1}ENCOMPASSING THE WAR YEARS THAT WAS TO BEGIN ON BIMINI 495 00:28:50,887 --> 00:28:57,354 {\an1}IN 1936 AND END WITH THE BATTLE FOR THE HURTGEN FOREST. 496 00:28:57,387 --> 00:29:02,254 {\an1}BUT NOVELS ABOUT THE WAR BY YOUNGER WRITERS... IRWIN SHAW, 497 00:29:02,287 --> 00:29:06,587 {\an1}JOHN HORNE BURNS, NORMAN MAILER, ALL OF WHOM HAD BEEN 498 00:29:06,621 --> 00:29:10,721 {\an1}INFLUENCED BY HIM... SOON MADE HIM WONDER IF READERS WOULD 499 00:29:10,754 --> 00:29:13,587 {\an1}WANT TO READ ABOUT HIS WAR. 500 00:29:13,621 --> 00:29:17,187 {\an1}HIS PLANS FOR A NEW FAMILY DIDN'T WORK OUT EITHER. 501 00:29:17,221 --> 00:29:20,221 {\an1}MARY SUFFERED AN ECTOPIC PREGNANCY, AND NEARLY 502 00:29:20,254 --> 00:29:21,787 BLED TO DEATH. 503 00:29:21,821 --> 00:29:24,721 {\an1}HEMINGWAY WAS TOLD TO SAY GOOD-BYE. 504 00:29:24,754 --> 00:29:28,587 {\an1}INSTEAD, HE FORCED AN ATTENDANT TO OPEN A NEW VEIN 505 00:29:28,621 --> 00:29:31,887 {\an1}AND ADMINISTER PLASMA. 506 00:29:31,921 --> 00:29:36,521 {\an1}MARY SURVIVED BUT WAS TOLD SHE COULD NOT BEAR CHILDREN. 507 00:29:36,554 --> 00:29:41,554 {\an1}HEMINGWAY WOULD NEVER HAVE THE DAUGHTER HE'D HOPED FOR. 508 00:29:41,587 --> 00:29:45,921 {\an1}THERE WERE NOW PROBLEMS WITH HIS BOYS, TOO. 509 00:29:45,954 --> 00:29:49,187 {\an1}BEEGEL: THEY HAD A VERY GOOD TIME WITH PAPA 510 00:29:49,221 --> 00:29:52,987 AND THEY LOVED HIM DEARLY. 511 00:29:53,021 --> 00:29:57,054 {\an1}BUT AT THE SAME TIME, THEY WERE DEPRIVED OF THEIR FATHER 512 00:29:57,087 --> 00:30:01,087 {\an1}FOR WHOLE STRETCHES OF THEIR LIVES. 513 00:30:01,121 --> 00:30:08,287 {\an1}HE WAS INCREDIBLY EXACTING AND DEMANDING AND COULD TURN SOME 514 00:30:08,321 --> 00:30:12,087 {\an1}OF THAT VERBAL ABUSE ON THEM. 515 00:30:12,121 --> 00:30:15,921 {\an1}NARRATOR: HE WAS PROUD OF HIS OLDEST SON JACK'S WAR RECORD: 516 00:30:15,954 --> 00:30:21,121 {\an1}BUMBY HAD JOINED THE OSS, PARACHUTED INTO OCCUPIED FRANCE, 517 00:30:21,154 --> 00:30:24,954 {\an1}HAD BEEN WOUNDED AND SPENT TIME IN A GERMAN PRISON CAMP, 518 00:30:24,987 --> 00:30:28,787 {\an1}BUT HIS FATHER GREW IMPATIENT WITH HIS APPARENT INABILITY TO 519 00:30:28,821 --> 00:30:33,021 {\an1}DECIDE WHAT HE'D LIKE TO DO IN PEACETIME. 520 00:30:33,054 --> 00:30:37,054 {\an1}GREGORY, THE YOUNGEST, HAD A SECRET. 521 00:30:37,087 --> 00:30:40,921 {\an1}IT HAD BEGUN WHEN GREGORY WAS A SMALL BOY. 522 00:30:40,954 --> 00:30:44,821 {\an1}HE'D FOUND BOTH SOLACE AND EXCITEMENT DURING HIS PARENTS' 523 00:30:44,854 --> 00:30:48,821 {\an1}FREQUENT ABSENCES, FIRST BY TAKING HIS MOTHER'S STOCKINGS 524 00:30:48,854 --> 00:30:52,487 {\an1}FROM HER DRESSER AND RUBBING THEM AGAINST HIS CHEEK, 525 00:30:52,521 --> 00:30:55,187 {\an1}THEN BY PULLING THEM ON. 526 00:30:55,221 --> 00:30:58,887 {\an1}HIS FATHER KNEW ABOUT IT. "HE HAS THE BIGGEST DARK SIDE 527 00:30:58,921 --> 00:31:01,887 {\an1}IN THE FAMILY EXCEPT ME AND YOU," HE TOLD GREGORY'S 528 00:31:01,921 --> 00:31:07,587 {\an1}MOTHER, PAULINE, BUT HOPED HE'D GROW OUT OF IT SOMEHOW. 529 00:31:07,621 --> 00:31:12,487 {\an1}PATRICK: MY BROTHER EXPLAINED TO ME ONCE WHAT A WONDERFUL THING 530 00:31:12,521 --> 00:31:15,154 {\an1}IT WAS TO BE IN DRAG, YOU KNOW. 531 00:31:15,187 --> 00:31:16,787 {\an1}IT WAS JUST MARVELOUS, 532 00:31:16,821 --> 00:31:18,787 {\an1}THE GREATEST THING YOU COULD EXPERIENCE. 533 00:31:18,821 --> 00:31:21,987 {\an1}AND I THOUGHT, WELL, NOT FOR ME, YOU KNOW. 534 00:31:22,021 --> 00:31:24,587 {\an1}NOT THAT I DIDN'T SYMPATHIZE, 535 00:31:24,621 --> 00:31:29,487 {\an7}BUT IT WAS AN INTOLERABLE SITUATION FOR HIM BEING THE 536 00:31:29,521 --> 00:31:31,654 {\an7}SON OF WHO HE WAS THE SON OF. 537 00:31:31,687 --> 00:31:33,521 {\an7}I THINK THAT WAS WHAT MADE IT SO AWFUL. 538 00:31:33,554 --> 00:31:36,021 {\an1}I MEAN THESE DAYS, WHO WOULD GIVE A DAMN? 539 00:31:37,354 --> 00:31:40,621 {\an1}NARRATOR: BUT HIS MIDDLE SON PATRICK WAS OF EVEN MORE 540 00:31:40,654 --> 00:31:42,754 {\an1}IMMEDIATE CONCERN. 541 00:31:42,787 --> 00:31:46,887 {\an1}WHILE VISITING HIS FATHER IN CUBA IN THE SUMMER OF 1947, 542 00:31:46,921 --> 00:31:49,987 {\an1}HE HAD A SEVERE PSYCHOTIC EPISODE. 543 00:31:50,021 --> 00:31:52,821 {\an1}HE HAD RECENTLY SUFFERED A CONCUSSION WHICH DOCTORS 544 00:31:52,854 --> 00:31:55,221 THOUGHT MUST HAVE TRIGGERED IT. 545 00:31:55,254 --> 00:31:59,587 {\an1}PATRICK TORE OFF HIS CLOTHES, REFUSED TO EAT, CURSED 546 00:31:59,621 --> 00:32:03,321 {\an1}AND STRUCK OUT AT ANYONE WHO CAME NEAR HIM. 547 00:32:03,354 --> 00:32:07,554 {\an1}PATRICK: IT IS PRETTY HARD TO TELL WHAT HAPPENED TO ME. 548 00:32:07,587 --> 00:32:10,421 {\an1}IF YOU WOULD GO BY THE SYMPTOMS... 549 00:32:10,454 --> 00:32:13,387 {\an1}EXTREME SCHIZOPHRENIA. 550 00:32:13,421 --> 00:32:15,021 HA. 551 00:32:15,054 --> 00:32:17,554 {\an1}BUT YOU KNOW PEOPLE DON'T GET OVER SCHIZOPHRENIA, 552 00:32:17,587 --> 00:32:20,021 DO THEY, AS FAR AS I KNOW? 553 00:32:20,054 --> 00:32:22,387 {\an1}NARRATOR: HEMINGWAY REFUSED TO HAVE HIS BOY 554 00:32:22,421 --> 00:32:26,187 {\an1}INSTITUTIONALIZED, AND FOR 3 MONTHS SERVED AS HIS 555 00:32:26,221 --> 00:32:30,887 {\an1}TENDER AND SUPPORTIVE NURSE, GETTING BY ON 4 HOURS OF SLEEP 556 00:32:30,921 --> 00:32:35,587 ON THE FLOOR OUTSIDE PATRICK'S DOOR. 557 00:32:35,621 --> 00:32:40,454 {\an1}PATRICK'S MOTHER, PAULINE, CAME TO CUBA TO NURSE HIM, TOO, 558 00:32:40,487 --> 00:32:43,854 {\an1}AND SHE AND MARY BECAME FRIENDS AS "ALUMNAE" OF WHAT 559 00:32:43,887 --> 00:32:47,654 THEY CALLED "HEMINGWAY UNIVERSITY." 560 00:32:47,687 --> 00:32:51,554 {\an1}WITH THE HELP OF A GERMAN PSYCHIATRIST, WHO PRESCRIBED 561 00:32:51,587 --> 00:32:56,787 {\an1}ELECTROSHOCK THERAPY, PATRICK EVENTUALLY RECOVERED. 562 00:33:03,421 --> 00:33:06,021 {\an8}[BELLS TOLLING] 563 00:33:06,054 --> 00:33:10,121 {\an8}♪ 564 00:33:10,154 --> 00:33:14,321 {\an1}IN DECEMBER, 1948, THE HEMINGWAYS WERE STAYING 565 00:33:14,354 --> 00:33:17,921 {\an1}HALF AN HOUR'S BOAT RIDE FROM VENICE, FOR WHAT MARY HOPED 566 00:33:17,954 --> 00:33:20,554 WOULD BE A MUCH-DELAYED HONEYMOON. 567 00:33:20,587 --> 00:33:24,654 {\an1}BUT HEMINGWAY... GREY-BEARDED AND BATTERED, STILL DRINKING 568 00:33:24,687 --> 00:33:28,221 {\an1}FAR TOO MUCH, WITH CONSTANT RINGING IN HIS EARS 569 00:33:28,254 --> 00:33:30,454 {\an1}AND DANGEROUSLY HIGH BLOOD PRESSURE... 570 00:33:30,487 --> 00:33:35,821 {\an1}MET AN 18-YEAR OLD ITALIAN GIRL FROM AN OLD, ARISTOCRATIC FAMILY... 571 00:33:35,854 --> 00:33:41,387 {\an1}ADRIANA IVANCICH... AND FELL OBSESSIVELY IN LOVE WITH HER. 572 00:33:41,421 --> 00:33:45,521 {\an1}SHE WAS FRESH FROM CONVENT SCHOOL AND WELL-READ, THOUGH 573 00:33:45,554 --> 00:33:48,687 {\an1}SHE'D NEVER READ ANYTHING BY HEMINGWAY, AND SHE ENJOYED 574 00:33:48,721 --> 00:33:51,887 {\an1}LISTENING TO HIM TALK AT HARRY'S BAR AND WHILE THEY 575 00:33:51,921 --> 00:33:54,187 AMBLED TOGETHER THROUGH VENICE. 576 00:33:54,221 --> 00:33:58,254 {\an1}HE CALLED HER "DAUGHTER" AND ASKED HER TO CALL HIM "PAPA," 577 00:33:58,287 --> 00:34:01,921 {\an1}BUT HE ALSO TOLD HER THAT HE WOULD BEG HER TO MARRY HIM 578 00:34:01,954 --> 00:34:05,454 IF HE DIDN'T KNOW SHE'D SAY NO. 579 00:34:05,487 --> 00:34:09,254 {\an1}DEARBORN: AND IT WAS A GREAT BLOW TO HIM THAT SHE DIDN'T 580 00:34:09,287 --> 00:34:10,687 {\an1}FALL IN LOVE WITH HIM. 581 00:34:12,487 --> 00:34:16,287 {\an7}EVERY TIME BEFORE THIS, WHEN HE'S WANTED A WOMAN, 582 00:34:16,321 --> 00:34:18,654 {\an7}THAT'S IT. SHE'S HIS. 583 00:34:18,687 --> 00:34:21,454 {\an7}HE CAN DISCARD THIS WIFE, TAKE THE NEW ONE. 584 00:34:21,487 --> 00:34:24,554 {\an1}F. SCOTT FITZGERALD SAID HE "WANTED A NEW... A NEW WIFE 585 00:34:24,587 --> 00:34:26,287 FOR EVERY BOOK." 586 00:34:26,321 --> 00:34:30,554 {\an1}BUT, ADRIANA, THAT'S DIFFERENT TO HIM, OK? 587 00:34:30,587 --> 00:34:33,621 {\an1}NARRATOR: MARY WORRIED THAT HER HUSBAND WAS "WEAVING 588 00:34:33,654 --> 00:34:38,287 {\an1}A MESH WHICH MIGHT ENTANGLE AND PAIN HIM," BUT ADRIANA 589 00:34:38,321 --> 00:34:41,521 {\an1}BECAME THE MODEL FOR THE LOVE INTEREST IN THE NOVEL HE HAD 590 00:34:41,554 --> 00:34:47,454 {\an1}FINALLY BEGUN WORKING ON, "ACROSS THE RIVER AND INTO THE TREES." 591 00:34:47,487 --> 00:34:51,254 {\an1}ITS PROTAGONIST, INSPIRED IN PART BY BUCK LANHAM, 592 00:34:51,287 --> 00:34:55,187 {\an1}IS A DYING 50-YEAR-OLD AMERICAN INFANTRY COLONEL 593 00:34:55,221 --> 00:34:58,187 {\an1}FILLED WITH MEMORIES OF THE HORRORS HE HAS WITNESSED 594 00:34:58,221 --> 00:35:00,187 IN TWO WARS. 595 00:35:00,221 --> 00:35:04,387 {\an1}HE SPENDS HIS LAST 3 DAYS IN VENICE WHERE HE MAKES LOVE 596 00:35:04,421 --> 00:35:08,354 {\an1}TO AN 18-YEAR-OLD GIRL WHOM HEMINGWAY NAMES "RENATA"... 597 00:35:08,387 --> 00:35:11,587 {\an1}ITALIAN FOR "REBORN." 598 00:35:11,621 --> 00:35:15,954 {\an1}WHEN HE GOT BACK TO CUBA, HE WROTE LIKE A MAN POSSESSED. 599 00:35:15,987 --> 00:35:20,254 {\an1}HE WAS ALMOST 50, BUT HE TOLD HIS PUBLISHER THAT SUMMER HE 600 00:35:20,287 --> 00:35:23,887 WAS WRITING AS IF HE WERE 25 AGAIN. 601 00:35:23,921 --> 00:35:28,221 {\an1}WOLFF: I DON'T THINK HE WAS EVER UNHAPPY TO HAVE US 602 00:35:28,254 --> 00:35:30,921 CONFUSE HIM WITH HIS CHARACTERS. 603 00:35:30,954 --> 00:35:36,387 {\an7}BUT BY THEN, I THINK HE ASSUMED THE IDENTIFICATION WAS 604 00:35:36,421 --> 00:35:42,954 {\an1}SO COMPLETE THAT HE HAD TO MAKE A ROMANTIC, 605 00:35:42,987 --> 00:35:46,554 MANLY FIGURE OF COLONEL CANTWELL 606 00:35:46,587 --> 00:35:49,387 {\an1}WITH THE ITALIAN MISTRESS. 607 00:35:49,421 --> 00:35:51,354 [KEYS CLICKING] 608 00:35:51,387 --> 00:35:54,554 {\an1}MAN, AS HEMINGWAY: SHE CAME INTO THE ROOM, SHINING IN HER 609 00:35:54,587 --> 00:35:58,587 {\an1}YOUTH AND TALL STRIDING BEAUTY, AND THE CARELESSNESS 610 00:35:58,621 --> 00:36:01,054 {\an1}THE WIND HAD MADE OF HER HAIR. 611 00:36:01,087 --> 00:36:05,554 {\an1}SHE HAD PALE, ALMOST OLIVE- COLORED SKIN, A PROFILE THAT 612 00:36:05,587 --> 00:36:10,054 {\an1}COULD BREAK YOUR, OR ANYONE ELSE'S HEART, AND HER DARK HAIR, 613 00:36:10,087 --> 00:36:14,821 {\an1}OF AN ALIVE TEXTURE, HUNG DOWN OVER HER SHOULDERS. 614 00:36:14,854 --> 00:36:17,654 {\an1}NARRATOR: HEMINGWAY HAD CONVINCED HIMSELF THAT HE WAS 615 00:36:17,687 --> 00:36:19,821 {\an1}WRITING BETTER THAN EVER. 616 00:36:19,854 --> 00:36:21,654 HE WAS NOT. 617 00:36:21,687 --> 00:36:23,921 {\an1}MAN, AS HEMINGWAY: THE WIND WAS VERY COLD AND LASHED 618 00:36:23,954 --> 00:36:27,821 {\an1}THEIR FACES, BUT UNDER THE BLANKET THERE WAS NO WIND NOR 619 00:36:27,854 --> 00:36:32,121 {\an1}NOTHING; ONLY HIS RUINED HAND THAT SEARCHED FOR THE ISLAND 620 00:36:32,154 --> 00:36:35,254 {\an1}IN THE GREAT RIVER WITH THE HIGH STEEP BANKS. 621 00:36:35,287 --> 00:36:37,987 {\an1}"PLEASE DON'T MOVE," THE GIRL SAID. 622 00:36:38,021 --> 00:36:40,254 {\an1}"THEN MOVE A GREAT AMOUNT." 623 00:36:40,287 --> 00:36:43,821 {\an1}THE COLONEL, LYING UNDER THE BLANKET IN THE WIND, KNOWING 624 00:36:43,854 --> 00:36:48,087 {\an1}IT IS ONLY WHAT MAN DOES FOR WOMAN THAT HE RETAINS, EXCEPT 625 00:36:48,121 --> 00:36:51,054 {\an1}WHAT HE DOES FOR HIS FATHERLAND OR HIS MOTHERLAND, 626 00:36:51,087 --> 00:36:54,787 {\an7}HOWEVER YOU GET THE READING, PROCEEDED. 627 00:36:54,821 --> 00:36:58,287 {\an7}DEARBORN: HE THOUGHT HE WAS REACHING A KIND OF PERFECTION 628 00:36:58,321 --> 00:37:00,721 {\an7}AND ABUNDANCE IN HIS PROSE. 629 00:37:00,754 --> 00:37:05,454 {\an1}AND WHAT HE WAS WRITING WAS "ACROSS THE RIVER AND INTO THE TREES." 630 00:37:05,487 --> 00:37:09,487 {\an1}NARRATOR: HE WAS ALSO ACTING STRANGELY, FIRING OFF LETTERS 631 00:37:09,521 --> 00:37:14,354 {\an1}FILLED WITH INCREASINGLY TALL TALES AND IRRATIONAL BOASTING. 632 00:37:14,387 --> 00:37:17,721 {\an1}"ALL WRITERS ARE LIARS," HE LIKED TO SAY, ESPECIALLY 633 00:37:17,754 --> 00:37:20,387 {\an1}WHEN THEY'D HAD A FEW DRINKS. 634 00:37:20,421 --> 00:37:23,887 {\an1}BUT HE NOW CLAIMED 4 OF HIS ANCESTORS HAD FOUGHT 635 00:37:23,921 --> 00:37:27,554 {\an1}IN THE CRUSADES, THAT HIS GREAT-GREAT-GRANDMOTHER WAS 636 00:37:27,587 --> 00:37:31,321 {\an1}A NORTHERN CHEYENNE, THAT HE HIMSELF WAS CONDUCTING 637 00:37:31,354 --> 00:37:36,387 {\an1}SIMULTANEOUS AFFAIRS WITH 4 VENETIAN COUNTESSES, HAD BEEN 638 00:37:36,421 --> 00:37:42,821 {\an1}WOUNDED 22 TIMES AND HAD KILLED 122 ARMED MEN IN NOW 639 00:37:42,854 --> 00:37:45,554 5 DIFFERENT WARS. 640 00:37:45,587 --> 00:37:50,321 {\an1}FRIENDS WORRIED ABOUT WHAT SEEMED TO BE HAPPENING TO HIM. 641 00:37:50,354 --> 00:37:52,687 {\an1}HIS MOODS HAD ALWAYS SHIFTED. 642 00:37:52,721 --> 00:37:56,887 {\an1}NOW THEY WILDLY SWUNG UP AND DOWN. 643 00:37:56,921 --> 00:38:01,721 {\an1}DEARBORN: HE WAS, SO FLORIDLY MANIC, THINKING THIS TERRIBLE 644 00:38:01,754 --> 00:38:04,454 {\an1}BOOK IS HIS BEST BOOK AND FALLING IN LOVE 645 00:38:04,487 --> 00:38:09,854 {\an1}INAPPROPRIATELY, BUT YOU WERE ALSO SEEING THESE DEPRESSIONS. 646 00:38:09,887 --> 00:38:12,887 {\an1}AND WHEN HE WAS DEPRESSED, HE WAS MEAN. 647 00:38:12,921 --> 00:38:15,687 {\an1}NARRATOR: HE DISAPPEARED INTO HAVANA ONE DAY 648 00:38:15,721 --> 00:38:18,454 AND THEN TURNED UP FOR LUNCH ON THE "PILAR" 649 00:38:18,487 --> 00:38:23,787 {\an1}WITH A 17-YEAR-OLD PROSTITUTE ON HIS ARM. 650 00:38:23,821 --> 00:38:26,754 {\an1}WOMAN, AS WELSH HEMINGWAY: "DEAR ERNEST, AS SOON AS IT 651 00:38:26,787 --> 00:38:29,587 {\an1}"IS POSSIBLE FOR ME TO MOVE OUT, I SHALL MOVE. 652 00:38:29,621 --> 00:38:34,254 {\an1}"MAYBE IT IS AMBIGUOUS FOR ME TO EXPLAIN MY REASONS FOR LEAVING, 653 00:38:34,287 --> 00:38:37,287 {\an1}"BUT I WRITE THEM DOWN BECAUSE I THINK THIS TIME YOU SHOULD 654 00:38:37,321 --> 00:38:40,254 {\an1}"HAVE THE OPPORTUNITY OF KNOWING PRECISELY HOW I FEEL 655 00:38:40,287 --> 00:38:42,587 {\an1}"ABOUT THIS MARRIAGE. 656 00:38:42,621 --> 00:38:47,821 {\an1}"IT BEGAN IN 1944 IN BED IN THE RITZ HOTEL IN PARIS AND MY OWN 657 00:38:47,854 --> 00:38:52,054 {\an1}"REASONS FOR IT WERE TWO: I THOUGHT YOU WERE A STRAIGHT 658 00:38:52,087 --> 00:38:55,354 {\an1}"AND HONORABLE AND BRAVE MAN AND MAGNETICALLY 659 00:38:55,387 --> 00:38:57,721 "ENDEARING TO ME. 660 00:38:57,754 --> 00:39:01,921 {\an1}"AND BECAUSE, ALTHOUGH I WAS SUSPICIOUS OF YOUR OVER-DRINKING, 661 00:39:01,954 --> 00:39:05,421 {\an1}"YOU SAID SO OFTEN THAT YOUR CHIEF DESIRE WAS TO BE GOOD 662 00:39:05,454 --> 00:39:11,321 {\an1}"AND ADULT AND TO LIVE YOUR ONE AND ONLY LIFE INTELLIGENTLY. 663 00:39:11,354 --> 00:39:15,121 "I BELIEVED YOU AND IN YOU. 664 00:39:15,154 --> 00:39:17,454 "YOUR PRINCIPAL FAILURE IS THAT, 665 00:39:17,487 --> 00:39:20,254 {\an1}"PRIMARILY BECAUSE OF YOUR ACCUMULATING EGO 666 00:39:20,287 --> 00:39:23,654 {\an1}"AND YOUR INCREASING LAPSES INTO OVER-DRINKING, YOU HAVE 667 00:39:23,687 --> 00:39:26,987 {\an1}"NOT BEEN THE GOOD MAN YOU SAID YOU INTENDED TO BE. 668 00:39:27,021 --> 00:39:30,487 {\an1}"BOTH PRIVATELY AND IN PUBLIC, YOU HAVE INSULTED ME AND MY 669 00:39:30,521 --> 00:39:36,054 {\an1}"DIGNITY AS A HUMAN BEING AND A WOMAN DEVOTED TO YOU AND HAVE 670 00:39:36,087 --> 00:39:39,821 {\an1}"DEBASED MY PRIDE IN YOU IN FRONT OF FRIENDS. 671 00:39:39,854 --> 00:39:44,887 {\an1}"I THINK WE MUST NOW BOTH ADMIT THAT THIS MARRIAGE IS A FAILURE. 672 00:39:44,921 --> 00:39:46,954 {\an1}THEREFORE LET US END IT." 673 00:39:50,754 --> 00:39:54,054 {\an1}NARRATOR: "STICK WITH ME KITTEN," HEMINGWAY RESPONDED. 674 00:39:54,087 --> 00:39:58,021 {\an1}"I HOPE YOU WILL DECIDE TO STICK WITH ME." 675 00:39:58,054 --> 00:40:01,621 {\an1}MARY DID STICK WITH HIM, BUT NOTHING WAS SETTLED 676 00:40:01,654 --> 00:40:04,754 BETWEEN THEM. 677 00:40:04,787 --> 00:40:08,454 {\an1}A FEW WEEKS BEFORE HIS LONG- AWAITED NOVEL ABOUT VENICE WAS 678 00:40:08,487 --> 00:40:12,354 {\an1}TO BE PUBLISHED, HE LOST HIS FOOTING ABOARD THE "PILAR" 679 00:40:12,387 --> 00:40:15,687 {\an1}AND HIT HIS HEAD AGAIN. 680 00:40:15,721 --> 00:40:19,254 {\an1}AFTERWARDS, HE WROTE A FRIEND THAT HE HAD REACHED WHAT HE 681 00:40:19,287 --> 00:40:21,921 {\an1}CALLED A "BAD LOW." 682 00:40:21,954 --> 00:40:26,687 {\an1}HE'D TAKEN "A LONG DEEP DIVE IN THE GULF STREAM," HE SAID. 683 00:40:26,721 --> 00:40:29,521 {\an1}"IT WAS AWFULLY NICE DOWN THERE AND I WAS TEMPTED TO 684 00:40:29,554 --> 00:40:31,387 "STAY THERE, 685 00:40:31,421 --> 00:40:33,521 {\an1}"BUT YOU HAVE TO SET A GOOD EXAMPLE TO YOUR 686 00:40:33,554 --> 00:40:35,887 {\an1}CHILDREN AND ET CETERA." 687 00:40:35,921 --> 00:40:39,387 {\an7}WHEN "ACROSS THE RIVER AND INTO THE TREES" WAS PUBLISHED 688 00:40:39,421 --> 00:40:42,821 {\an7}IN SEPTEMBER OF 1950, IT BECAME AN INSTANT 689 00:40:42,854 --> 00:40:44,687 {\an8}BEST-SELLER, 690 00:40:44,721 --> 00:40:48,521 {\an1}BUT IT WAS NOT THE GREAT NOVEL OF THE SECOND WORLD WAR 691 00:40:48,554 --> 00:40:52,121 {\an1}CRITICS WERE EXPECTING AND HE RECEIVED THE WORST REVIEWS 692 00:40:52,154 --> 00:40:54,054 OF HIS CAREER. 693 00:40:54,087 --> 00:40:57,121 {\an1}THEY CALLED THE BOOK SENTIMENTAL, EMBARRASSING, 694 00:40:57,154 --> 00:40:59,687 EVEN PITIABLE. 695 00:40:59,721 --> 00:41:02,587 {\an1}"IT IS NOT ONLY HEMINGWAY'S WORST NOVEL," 696 00:41:02,621 --> 00:41:05,687 {\an1}SAID THE "SATURDAY REVIEW OF LITERATURE," "IT IS 697 00:41:05,721 --> 00:41:09,321 {\an1}"A SYNTHESIS OF EVERYTHING THAT IS BAD IN HIS PREVIOUS WORK 698 00:41:09,354 --> 00:41:13,087 {\an1}AND IT THROWS A DOUBTFUL LIGHT ON THE FUTURE." 699 00:41:13,121 --> 00:41:17,487 {\an1}THE BOOK MADE MARTHA GELLHORN "SICK," SHE TOLD A FRIEND, 700 00:41:17,521 --> 00:41:19,387 "SHIVERING SICK." 701 00:41:19,421 --> 00:41:23,187 {\an1}IT HAD THE "SOUND OF MADNESS AND A TERRIBLE SMELL, 702 00:41:23,221 --> 00:41:25,921 AS OF DECAY." 703 00:41:25,954 --> 00:41:29,221 {\an1}BEEGEL: "ACROSS THE RIVER AND INTO THE TREES" COMES OUT, 704 00:41:29,254 --> 00:41:33,587 {\an1}AND IT RECEIVES THE WORST IMAGINABLE REVIEWS. 705 00:41:33,621 --> 00:41:36,787 {\an1}PEOPLE CALL IT "MAUDLIN," THEY SAY HEMINGWAY IS 706 00:41:36,821 --> 00:41:40,887 {\an1}FINISHED, THIS BOOK IS SO BAD THAT IT CALLS INTO QUESTION 707 00:41:40,921 --> 00:41:43,354 {\an1}HIS ENTIRE CAREER SO FAR. 708 00:41:43,387 --> 00:41:45,521 {\an1}HEMINGWAY'S DONE, IT'S OVER, YOU KNOW. 709 00:41:45,554 --> 00:41:49,421 IT'S A DISASTER. IT'S A DISASTER. 710 00:41:49,454 --> 00:41:51,621 {\an1}NOT TO MENTION THE LOVEMAKING IN THE GONDOLA 711 00:41:51,654 --> 00:41:54,154 {\an1}WITH THE BIRDS FLYING. HA HA! 712 00:41:56,054 --> 00:42:00,254 {\an1}KATAKIS: SOMETHING IS STARTING TO HAPPEN IN THE 1950s... 713 00:42:00,287 --> 00:42:07,587 {\an7}CALL IT FAME, CALL IT TOO MUCH DRINKING, TOO MUCH OF TOO MUCH. 714 00:42:07,621 --> 00:42:10,621 {\an1}THERE IS A CONSTANT CHECK OF BLOOD PRESSURE. 715 00:42:10,654 --> 00:42:15,054 {\an1}THERE IS A CONCERN FOR MORTALITY IN HEMINGWAY 716 00:42:15,087 --> 00:42:18,954 {\an1}THAT HE ALWAYS KNEW WAS THERE, AS WE ALL DO, 717 00:42:18,987 --> 00:42:23,254 {\an1}BUT AT THE SAME TIME DON'T KNOW UNTIL ILLNESS OR 718 00:42:23,287 --> 00:42:25,721 SOMETHING BEGINS TO SHOW ITSELF. 719 00:42:25,754 --> 00:42:29,087 {\an1}TO SOME EXTENT, SOMEONE AS VIBRANT AS THIS, I THINK THAT 720 00:42:29,121 --> 00:42:32,154 {\an1}CAME AS A BIT OF A SHOCK. 721 00:42:32,187 --> 00:42:37,821 {\an1}AND THE DRINKING AND THE HISTORY OF MENTAL ILLNESS 722 00:42:37,854 --> 00:42:41,587 IN THE FAMILY HAD TO BE ON HIS MIND. 723 00:42:41,621 --> 00:42:45,387 HIS FATHER HAD TO BE ON HIS MIND. 724 00:42:50,121 --> 00:42:54,854 {\an1}NARRATOR: IN EARLY 1951, HEMINGWAY'S PUBLISHER CHARLES SCRIBNER 725 00:42:54,887 --> 00:42:58,254 {\an1}SENT HIM GALLEYS OF A WORLD WAR II NOVEL CALLED, 726 00:42:58,287 --> 00:43:01,454 {\an1}"FROM HERE TO ETERNITY," BY A YOUNG WRITER NAMED 727 00:43:01,487 --> 00:43:07,021 {\an1}JAMES JONES IN THE HOPE HEMINGWAY MIGHT WRITE A BLURB. 728 00:43:07,054 --> 00:43:10,854 {\an1}AFTER SEEING COMBAT IN THE PACIFIC, JONES HAD GONE AWOL 729 00:43:10,887 --> 00:43:15,154 {\an1}DURING THE SECOND WORLD WAR AND BEEN GIVEN AN HONORABLE DISCHARGE 730 00:43:15,187 --> 00:43:22,454 {\an1}FOR PSYCHIATRIC REASONS; HIS PROTAGONIST WENT AWOL, TOO. 731 00:43:22,487 --> 00:43:25,654 {\an1}HEMINGWAY TOLD SCRIBNER HE HATED THE BOOK. 732 00:43:25,687 --> 00:43:29,554 {\an1}THOUGH HIS OWN HERO OF "A FAREWELL TO ARMS" HAD DESERTED, 733 00:43:29,587 --> 00:43:33,821 {\an1}JONES WAS A COWARD, A WHINER, A "BATTLE-FATIGUE TYPE," 734 00:43:33,854 --> 00:43:37,487 {\an1}HE WROTE, LIKELY TO COMMIT SUICIDE ONCE "THINGS 735 00:43:37,521 --> 00:43:39,487 {\an1}CATCH UP WITH HIM." 736 00:43:39,521 --> 00:43:44,221 {\an1}HIS BOOK WAS SURE TO "DO GREAT DAMAGE TO OUR COUNTRY." 737 00:43:44,254 --> 00:43:46,687 {\an1}MAN, AS HEMINGWAY: "PROBABLY I SHOULD RE-READ IT AGAIN TO 738 00:43:46,721 --> 00:43:48,987 {\an1}"GIVE YOU A TRUER ANSWER. 739 00:43:49,021 --> 00:43:52,821 {\an1}"BUT I DO NOT HAVE TO EAT AN ENTIRE BOWL OF SCABS TO KNOW 740 00:43:52,854 --> 00:43:58,521 {\an1}"THEY ARE SCABS; NOR SUCK A BOIL TO KNOW IT IS A BOIL; 741 00:43:58,554 --> 00:44:03,287 {\an1}"NOR SWIM THROUGH A RIVER OF SNOT TO KNOW IT IS SNOT. 742 00:44:03,321 --> 00:44:07,921 {\an1}"I HOPE HE KILLS HIMSELF AS SOON AS IT DOES NOT DAMAGE HIS 743 00:44:07,954 --> 00:44:09,887 "OR YOUR SALES. 744 00:44:09,921 --> 00:44:13,621 {\an1}"IF YOU GIVE HIM A LITERARY TEA, YOU MIGHT ASK HIM TO DRAIN 745 00:44:13,654 --> 00:44:20,954 {\an1}"A BUCKET OF SNOT AND THEN SUCK THE PUSS OUT OF A DEAD [BLEEP] EAR. 746 00:44:20,987 --> 00:44:24,521 {\an1}"WOULDN'T HAVE BROUGHT HIM UP IF YOU HADN'T ASKED ME. 747 00:44:24,554 --> 00:44:29,154 {\an1}NOW I FEEL AS UNCLEAN AS WHEN I READ HIS [BLEEP]-OFF BOOK." 748 00:44:31,654 --> 00:44:33,621 YEAH. 749 00:44:37,621 --> 00:44:41,387 {\an1}IT'S... IT'S ANOTHER MYSTERY WHY THIS MOST 750 00:44:41,421 --> 00:44:44,387 {\an8}FAMOUS WRITER OF WRITERS, UH... 751 00:44:44,421 --> 00:44:49,621 {\an7}WOULD HAVE FELT SO, UH... 752 00:44:49,654 --> 00:44:55,254 {\an1}UNSAFE IN HIS POSITION AND EMBATTLED IN IT 753 00:44:55,287 --> 00:45:00,387 {\an1}AND NEEDING TO FEND OFF ALL OTHER WRITERS AS IF THEY WERE 754 00:45:00,421 --> 00:45:02,854 CHALLENGING HIM. 755 00:45:02,887 --> 00:45:07,121 {\an1}WHY DIDN'T HE JUST SAY, "I, YOU KNOW, I DIDN'T WARM UP TO THIS BOOK, 756 00:45:07,154 --> 00:45:09,587 {\an1}I DON'T KNOW WHAT I WOULD SAY ABOUT IT," AND LET IT GO? 757 00:45:09,621 --> 00:45:11,587 BUT NO. 758 00:45:11,621 --> 00:45:13,863 {\an1}DUDLEY: THE FACT THAT HE WOULD REVILE A FELLOW WRITER DOESN'T 759 00:45:13,887 --> 00:45:17,454 {\an1}SHOCK ME AT ALL, BUT THE HARSHNESS OF IT, YEAH. 760 00:45:17,487 --> 00:45:21,654 {\an1}THE RACIAL EPITHETS HERE, SOMETHING THAT HE KNEW WOULD 761 00:45:21,687 --> 00:45:25,754 {\an1}PROBABLY SEE THE LIGHT OF DAY AT SOME POINT. 762 00:45:25,787 --> 00:45:28,721 {\an7}YEAH. IT COMPLICATES THINGS IMMENSELY. 763 00:45:31,887 --> 00:45:33,621 {\an1}I'M NOT REALLY SURE WHAT TO SAY ABOUT THIS, 764 00:45:33,654 --> 00:45:35,287 {\an1}TO EXPLAIN IT AWAY. 765 00:45:35,321 --> 00:45:38,054 {\an1}I DON'T KNOW IF YOU CAN EXPLAIN IT AWAY. 766 00:45:38,087 --> 00:45:40,454 {\an1}VERGHESE: WE'RE ALL DEEPLY FLAWED. 767 00:45:40,487 --> 00:45:44,654 {\an1}AND HEMINGWAY'S YOU KNOW COMPLEX NATURE IS SOMETHING 768 00:45:44,687 --> 00:45:48,054 {\an1}THAT WE'LL NEVER SOLVE WITH ONE PITHY PHRASE. 769 00:45:48,087 --> 00:45:51,387 {\an1}WE WON'T EXPLAIN THESE AWFUL LETTERS HE WROTE. 770 00:45:51,421 --> 00:45:54,854 {\an7}WE WON'T EVER BE ABLE TO FORGIVE HIM FOR THE AWFUL 771 00:45:54,887 --> 00:45:58,287 {\an7}THINGS HE SAID ABOUT PEOPLE, THE WORDS HE USED THAT HAD NO, 772 00:45:58,321 --> 00:46:03,421 {\an1}NO REASON BUT HURT, BUT THERE IT IS. 773 00:46:06,487 --> 00:46:11,221 ♪ 774 00:46:13,787 --> 00:46:15,821 {\an1}ANDREW FARAH: IN CUBA, HE WOULD ACTUALLY REHEARSE 775 00:46:15,854 --> 00:46:18,221 {\an1}A SUICIDE FOR FRIENDS. 776 00:46:18,254 --> 00:46:21,554 {\an1}HE WOULD HAVE FRIENDS OVER FOR DINNER AND THEN HE WOULD, 777 00:46:21,587 --> 00:46:24,587 {\an7}UH, PUT HIS SHOTGUN ON THE FLOOR AND PUT HIS BIG TOE 778 00:46:24,621 --> 00:46:26,597 {\an7}IN THE TRIGGER AND PUT THE BARREL IN THE ROOF OF HIS MOUTH, 779 00:46:26,621 --> 00:46:29,587 {\an7}AND EVERYONE WOULD LISTEN TO IT GO "CLICK." 780 00:46:29,621 --> 00:46:33,187 {\an1}AND HE WOULD LIFT HIS MOUTH OFF THE BARREL, GRINNING. 781 00:46:33,221 --> 00:46:35,821 {\an1}NARRATOR: "I HAVE NOTHING IN MY HEAD," HEMINGWAY TOLD 782 00:46:35,854 --> 00:46:37,421 AN OLD FRIEND. 783 00:46:37,454 --> 00:46:40,621 {\an1}"I'M FED UP WITH LIVING. I CAN'T WRITE. 784 00:46:40,654 --> 00:46:46,754 {\an1}I LOVE ONLY ADRIANA. I'M GOING TO COMMIT SUICIDE." 785 00:46:46,787 --> 00:46:50,721 {\an1}HE TOOK OUT HIS DESPAIR AND FRUSTRATION ON MARY, CALLING 786 00:46:50,754 --> 00:46:54,554 {\an1}HER A "WHORE, BITCH, LIAR, MORON." 787 00:46:54,587 --> 00:46:57,721 {\an1}SHE TOLD HIS PUBLISHER SHE FEARED SHE WAS WITNESSING 788 00:46:57,754 --> 00:47:00,854 {\an1}"THE DISINTEGRATION OF A PERSONALITY." 789 00:47:00,887 --> 00:47:02,687 [CATS MEOWING] 790 00:47:02,721 --> 00:47:05,987 {\an1}BEEGEL: IT'S A VERY TRAGIC THING, AND I BELIEVE THAT 791 00:47:06,021 --> 00:47:08,454 {\an1}RELATIONSHIP DID GET PHYSICAL. 792 00:47:08,487 --> 00:47:11,987 {\an7}SHE'S JUST LITTLE AND HE'S THIS HULKING, YOU KNOW, 793 00:47:12,021 --> 00:47:15,787 {\an7}6-FOOT-SOMETHING MAN. IT'S... IT'S DANGEROUS. 794 00:47:15,821 --> 00:47:18,421 {\an1}FARAH: MARY HAD THREATENED TO LEAVE HIM MANY TIMES. 795 00:47:18,454 --> 00:47:20,721 {\an1}THEY WERE VIOLENT TOWARDS EACH OTHER. 796 00:47:20,754 --> 00:47:22,887 {\an1}HE WAS VIOLENT TOWARDS HER. 797 00:47:22,921 --> 00:47:25,221 AND AT ONE POINT, THEIR CUBAN DOCTOR TOOK THE 798 00:47:25,254 --> 00:47:26,997 {\an1}SHOTGUNS OUT OF THE HOME; THEY WERE THREATENING EACH OTHER 799 00:47:27,021 --> 00:47:28,921 WITH SHOTGUNS. 800 00:47:28,954 --> 00:47:32,254 {\an1}THEY WOULD GO AT EACH OTHER, TOOTH AND NAIL. 801 00:47:32,287 --> 00:47:34,587 {\an1}BEEGEL: HE KNOWS HE'S STRUGGLING TO WRITE. 802 00:47:34,621 --> 00:47:38,387 {\an1}HE'S GOT TO DO SOMETHING. EVERYTHING HE'S LIVED FOR, 803 00:47:38,421 --> 00:47:41,154 {\an1}EVERYTHING HE'S WORKED FOR, THE WHOLE IDEA OF BEING 804 00:47:41,187 --> 00:47:45,621 {\an1}AN IMMORTAL AMERICAN WRITER IS AT STAKE. 805 00:47:45,654 --> 00:47:48,254 {\an1}[SHIP'S HORN BLOWS] 806 00:47:48,287 --> 00:47:53,154 {\an1}NARRATOR: THEN IN OCTOBER OF 1950, ADRIANA AND HER MOTHER 807 00:47:53,187 --> 00:47:56,687 {\an1}CAME TO CUBA FOR AN EXTENDED VISIT. 808 00:47:56,721 --> 00:48:00,154 {\an1}HEMINGWAY WAS ELATED. 809 00:48:00,187 --> 00:48:02,221 {\an1}BEEGEL: HE GOES INTO TRAINING. 810 00:48:02,254 --> 00:48:04,921 {\an1}HE TALKS ABOUT GOING INTO TRAINING LIKE A BOXER. 811 00:48:04,954 --> 00:48:09,754 {\an1}AND FOR A PERIOD OF WEEKS, HE LOSES WEIGHT, HE STOPS 812 00:48:09,787 --> 00:48:13,687 {\an1}DRINKING EVERYTHING EXCEPT A LITTLE BIT OF WINE, HE EATS 813 00:48:13,721 --> 00:48:17,387 {\an1}CELERY STICKS, LOTS OF PROTEIN LIKE RAW WILD DUCK. 814 00:48:17,421 --> 00:48:22,021 {\an1}HE SWIMS LAPS IN THE POOL, HE GETS INTO SHAPE. 815 00:48:22,054 --> 00:48:26,221 {\an7}DEARBORN: HE IDEALIZED LOVE SO MUCH AND IT GAVE HIM 816 00:48:26,254 --> 00:48:28,121 {\an8}SO MUCH ENERGY. 817 00:48:28,154 --> 00:48:31,054 {\an1}IF YOU REMEMBER BEING IN LOVE AS A TEENAGER, 818 00:48:31,087 --> 00:48:33,154 YOU'RE SO HAPPY. 819 00:48:33,187 --> 00:48:37,154 {\an1}ADRIANA ALLOWED HIM TO RE-CREATE THAT. 820 00:48:37,187 --> 00:48:41,554 {\an1}SHE MOVES MUCH MORE FROM BEING A POTENTIAL LOVE RELATIONSHIP 821 00:48:41,587 --> 00:48:43,587 {\an1}TO BEING A KIND OF MUSE. 822 00:48:46,554 --> 00:48:54,554 {\an1}NARRATOR: INSPIRED BY ADRIANA, HEMINGWAY BEGAN A NEW STORY. 823 00:48:54,621 --> 00:48:57,887 {\an1}MAN, AS HEMINGWAY: THE OLD MAN WAS THIN AND GAUNT WITH DEEP 824 00:48:57,921 --> 00:49:01,287 WRINKLES IN THE BACK OF HIS NECK. 825 00:49:01,321 --> 00:49:04,987 {\an1}THE BROWN BLOTCHES OF THE BENEVOLENT SKIN CANCER THE SUN 826 00:49:05,021 --> 00:49:08,121 {\an1}BRINGS FROM ITS REFLECTION ON THE TROPIC SEA WERE 827 00:49:08,154 --> 00:49:10,221 ON HIS CHEEKS. 828 00:49:10,254 --> 00:49:13,321 {\an1}THE BLOTCHES RAN WELL DOWN THE SIDES OF HIS FACE AND HIS 829 00:49:13,354 --> 00:49:16,721 {\an1}HANDS HAD THE DEEP-CREASED SCARS FROM HANDLING HEAVY FISH 830 00:49:16,754 --> 00:49:18,921 ON THE CORDS. 831 00:49:18,954 --> 00:49:21,754 BUT NONE OF THESE SCARS WERE FRESH. 832 00:49:21,787 --> 00:49:27,254 {\an1}THEY WERE AS OLD AS EROSIONS IN A FISHLESS DESERT. 833 00:49:27,287 --> 00:49:32,554 {\an1}EVERYTHING ABOUT HIM WAS OLD EXCEPT HIS EYES AND THEY WERE 834 00:49:32,587 --> 00:49:38,921 {\an1}THE SAME COLOR AS THE SEA AND WERE CHEERFUL AND UNDEFEATED. 835 00:49:38,954 --> 00:49:41,354 {\an1}NARRATOR: IT WAS A FICTIONALIZED VERSION 836 00:49:41,387 --> 00:49:44,687 {\an1}OF AN ARTICLE HE'D FIRST PUBLISHED IN "ESQUIRE" MAGAZINE 837 00:49:44,721 --> 00:49:47,421 15 YEARS EARLIER. 838 00:49:47,454 --> 00:49:52,721 {\an1}HE WROTE THE NEW NOVEL IN JUST 8 WEEKS. 839 00:49:52,754 --> 00:49:58,087 {\an1}"THE OLD MAN AND THE SEA" TOLD THE STORY OF AN OLD CUBAN FISHERMAN 840 00:49:58,121 --> 00:50:01,454 ALONE IN A SKIFF, WHO HOOKED A GREAT MARLIN THAT 841 00:50:01,487 --> 00:50:05,121 {\an1}TOWED HIM FAR OUT TO SEA BEFORE HE COULD HARPOON 842 00:50:05,154 --> 00:50:08,287 {\an1}AND LASH IT ALONGSIDE. 843 00:50:08,321 --> 00:50:11,321 {\an1}BUT AS HE STRUGGLED TO RETURN TO LAND, 844 00:50:11,354 --> 00:50:14,854 {\an1}SHARKS DEVOURED MOST OF HIS PRIZE. 845 00:50:17,721 --> 00:50:20,554 {\an1}IN THE EVENINGS, HEMINGWAY WOULD LET MARY READ WHAT HE 846 00:50:20,587 --> 00:50:22,921 {\an1}HAD WRITTEN THAT DAY. 847 00:50:22,954 --> 00:50:26,721 {\an1}"LAMB," SHE TOLD HIM AFTER FINISHING THE MANUSCRIPT, 848 00:50:26,754 --> 00:50:29,721 {\an1}"I AM PREPARED TO PARDON YOU FOR ALL THE DISAGREEABLE 849 00:50:29,754 --> 00:50:32,287 {\an1}THINGS YOU HAVE DONE TO ME." 850 00:50:32,321 --> 00:50:34,754 {\an1}WOMAN, AS WELSH HEMINGWAY: THOSE WERE SWEET HOURS. 851 00:50:34,787 --> 00:50:39,254 {\an1}ONLY THE SIGHS OF A BREEZE IN THE PALMS OR THE FARAWAY CHUFF 852 00:50:39,287 --> 00:50:43,287 {\an1}OF A LORRY ON THE MAIN ROAD CAME THROUGH THE OPEN WINDOWS. 853 00:50:43,321 --> 00:50:46,087 {\an1}IF I MADE SOME INVOLUNTARY WHISPER 854 00:50:46,121 --> 00:50:49,087 {\an1}OF APPROVAL, HE CAME OVER TO READ, PEERING OVER 855 00:50:49,121 --> 00:50:51,154 MY SHOULDER. 856 00:50:51,187 --> 00:50:55,587 {\an1}THIS WAS SIMPLE LINE-DRAWING BEAUTY, I THOUGHT. 857 00:50:55,621 --> 00:51:00,221 {\an1}IT REMINDED ME OF BACH FUGUES AND PICASSO DRAWINGS WITHOUT 858 00:51:00,254 --> 00:51:02,721 {\an1}CLUTTER OR FRILLS. 859 00:51:04,187 --> 00:51:06,854 {\an1}NARRATOR: HEMINGWAY HAD ORIGINALLY PLANNED TO INCLUDE 860 00:51:06,887 --> 00:51:10,687 {\an1}THE STORY AS THE CODA TO A LONGER NOVEL, BUT HE NOW 861 00:51:10,721 --> 00:51:13,354 {\an1}WANTED IT TO STAND ON ITS OWN. 862 00:51:13,387 --> 00:51:16,521 {\an1}"PUBLISHING IT NOW," HE TOLD SCRIBNER'S, "WILL GET RID 863 00:51:16,554 --> 00:51:20,421 {\an1}"OF THE SCHOOL OF CRITICISM THAT I AM THROUGH AS A WRITER, 864 00:51:20,454 --> 00:51:23,521 {\an1}"THAT CLAIMS I CAN WRITE ABOUT NOTHING EXCEPT MYSELF 865 00:51:23,554 --> 00:51:25,921 {\an1}"AND MY OWN EXPERIENCES. 866 00:51:25,954 --> 00:51:29,854 {\an1}"IT COULD EVEN SERVE AS AN EPILOGUE TO ALL MY WRITING 867 00:51:29,887 --> 00:51:33,487 {\an1}"AND WHAT I HAVE LEARNED OR TRIED TO LEARN, WHILE WRITING 868 00:51:33,521 --> 00:51:35,321 {\an1}AND TRYING TO LIVE." 869 00:51:37,287 --> 00:51:39,987 {\an1}MOST READERS SEEMED TO AGREE. 870 00:51:40,021 --> 00:51:43,787 {\an1}"THE OLD MAN AND THE SEA" APPEARED FIRST IN "LIFE" MAGAZINE 871 00:51:43,821 --> 00:51:50,421 {\an1}ON SEPTEMBER 1, 1952 AND SOLD WELL OVER 5 MILLION COPIES. 872 00:51:50,454 --> 00:51:53,354 {\an7}THE HARD-COVER BOOK, WHEN IT WAS PUBLISHED, WOULD REMAIN 873 00:51:53,387 --> 00:51:57,487 {\an7}ON THE BEST-SELLER LIST FOR 26 WEEKS. 874 00:51:57,521 --> 00:51:59,787 {\an7}[SPEAKING SPANISH] 875 00:52:50,721 --> 00:52:53,921 {\an7}NARRATOR: MOST REVIEWERS LOVED THE BOOK, TOO. 876 00:52:53,954 --> 00:52:56,221 {\an7}"THE OLD MAN AND THE SEA" PROVED, THE CRITIC 877 00:52:56,254 --> 00:52:59,187 {\an7}MARK SCHORER WROTE, THAT "HEMINGWAY'S ART, 878 00:52:59,221 --> 00:53:00,954 "WHEN IT IS ART, 879 00:53:00,987 --> 00:53:03,421 "IS ABSOLUTELY INCOMPARABLE. 880 00:53:03,454 --> 00:53:07,987 {\an1}"HE IS UNQUESTIONABLY THE GREATEST CRAFTSMAN IN THE AMERICAN NOVEL 881 00:53:08,021 --> 00:53:10,021 IN THIS CENTURY." 882 00:53:12,121 --> 00:53:15,987 {\an1}EDNA O'BRIEN: THE TEST OF A BOOK FOR ME IS HOW MANY TIMES YOU 883 00:53:16,021 --> 00:53:19,654 {\an1}WANT TO RE-READ IT. 884 00:53:19,687 --> 00:53:25,754 {\an1}IT DOESN'T WORK FOR ME BECAUSE IT'S SO ORDINARY. 885 00:53:25,787 --> 00:53:30,087 {\an7}IT'S ADOLESCENCE. IT'S SCHOOLBOY WRITING. 886 00:53:30,121 --> 00:53:32,254 I'M SORRY. 887 00:53:32,287 --> 00:53:35,421 {\an1}IT'S THE WRITER. HE'S THE BLOODY FISH. 888 00:53:35,454 --> 00:53:38,254 {\an1}HE'S STRUGGLING TO DO IT. 889 00:53:38,287 --> 00:53:41,421 {\an1}AND I FEEL, IN SOME WAYS, SYMPATHETIC BECAUSE I KNOW HOW 890 00:53:41,454 --> 00:53:45,587 {\an1}HARD IT IS TO WRITE EVEN ONE GOOD SENTENCE. 891 00:53:45,621 --> 00:53:49,087 {\an1}THIS IS NOT THE BOOK THAT WOULD BE THE FINEST FLOWER 892 00:53:49,121 --> 00:53:52,121 ON HIS GRAVE. IT'S NOT. 893 00:53:52,154 --> 00:53:54,754 {\an1}VERGHESE: WITH "THE OLD MAN AND THE SEA," YOU SEE THE 894 00:53:54,787 --> 00:53:59,287 {\an1}AGONY OF THIS OLD MAN, YOU SEE HIS BRAVERY, YOU SEE HIS 895 00:53:59,321 --> 00:54:04,321 {\an1}DESIRE TO REDEEM HIMSELF AND YOU SEE HIM SORT OF ARRIVE 896 00:54:04,354 --> 00:54:07,887 {\an1}WITH THE PRIZE, BUT THE PRIZE IS IN TATTERS. 897 00:54:07,921 --> 00:54:09,687 {\an1}AND ISN'T LIFE LIKE THAT? 898 00:54:09,721 --> 00:54:12,487 {\an7}I MEAN, ULTIMATELY LIFE IS SO IRONIC YOU KNOW. 899 00:54:12,521 --> 00:54:15,654 {\an7}YOU GET THE BIGGEST DAMN FISH OUT THERE, YOU REDEEM YOUR 900 00:54:15,687 --> 00:54:21,321 {\an1}REPUTATION, BUT BY THE TIME YOU GET IT TO SHORE, IT'S GONE 901 00:54:21,354 --> 00:54:23,187 AND SO ARE YOU. 902 00:54:23,221 --> 00:54:25,387 {\an7}[LLOSA SPEAKING SPANISH] 903 00:55:21,654 --> 00:55:24,887 {\an1}CUSHMAN: THE REFRAIN, AS HE'S TRYING TO COME IN 904 00:55:24,921 --> 00:55:28,787 {\an7}AND THE SHARKS KEEP HITTING THE FISH AND KEEP TAKING IT AWAY, 905 00:55:28,821 --> 00:55:32,921 {\an7}AS HE SAID, "THE THING I DID WRONG IS, I WENT 906 00:55:32,954 --> 00:55:35,354 OUT TOO FAR." 907 00:55:35,387 --> 00:55:37,854 {\an1}I WENT BEYOND WHAT I CAN CONTROL. 908 00:55:37,887 --> 00:55:40,754 {\an1}I WENT BEYOND WHAT I CAN COMPENSATE FOR. 909 00:55:40,787 --> 00:55:45,687 {\an1}AND I HEAR THAT AS JUST BEAUTIFUL AND AWFUL, AND FULL 910 00:55:45,721 --> 00:55:49,354 {\an1}OF PATHOS, AND THAT IS HEMINGWAY. 911 00:55:52,654 --> 00:55:55,787 {\an1}MAN, AS HEMINGWAY: HE WAS PAST EVERYTHING NOW AND HE SAILED 912 00:55:55,821 --> 00:55:58,521 {\an1}THE SKIFF TO MAKE HIS HOME PORT AS WELL AND AS 913 00:55:58,554 --> 00:56:00,821 {\an1}INTELLIGENTLY AS HE COULD. 914 00:56:00,854 --> 00:56:04,687 {\an1}IN THE NIGHT, SHARKS HIT THE CARCASS AS SOMEONE MIGHT PICK UP 915 00:56:04,721 --> 00:56:06,787 {\an1}CRUMBS FROM THE TABLE. 916 00:56:06,821 --> 00:56:11,121 {\an1}THE OLD MAN PAID NO ATTENTION TO THEM AND DID NOT PAY ANY 917 00:56:11,154 --> 00:56:14,121 {\an1}ATTENTION TO ANYTHING EXCEPT STEERING. 918 00:56:14,154 --> 00:56:17,521 {\an1}HE ONLY NOTICED HOW LIGHTLY AND HOW WELL THE SKIFF SAILED. 919 00:56:17,554 --> 00:56:20,054 {\an1}NOW THERE WAS NO GREAT WEIGHT BESIDE HER. 920 00:56:22,521 --> 00:56:25,121 {\an1}HE COULD FEEL HE WAS INSIDE THE CURRENT NOW 921 00:56:25,154 --> 00:56:26,987 {\an1}AND HE COULD SEE THE LIGHTS 922 00:56:27,021 --> 00:56:29,854 {\an1}OF THE BEACH COLONIES ALONG THE SHORE. 923 00:56:29,887 --> 00:56:35,421 {\an1}HE KNEW WHERE HE WAS NOW AND IT WAS NOTHING TO GET HOME. 924 00:56:35,454 --> 00:56:39,454 {\an1}IT IS EASY WHEN YOU ARE BEATEN, HE THOUGHT. 925 00:56:39,487 --> 00:56:42,687 {\an1}I NEVER KNEW HOW EASY IT WAS. 926 00:56:42,721 --> 00:56:45,354 {\an1}AND WHAT BEAT YOU, HE THOUGHT. 927 00:56:45,387 --> 00:56:49,621 {\an1}"NOTHING," HE SAID ALOUD. 928 00:56:49,654 --> 00:56:52,421 {\an1}"I WENT OUT TOO FAR." 929 00:56:52,454 --> 00:56:55,587 ♪ 930 00:56:58,554 --> 00:57:04,087 {\an1}NARRATOR: IN JUNE OF 1951, ERNEST'S MOTHER, GRACE HALL HEMINGWAY 931 00:57:04,121 --> 00:57:07,954 {\an1}HAD DIED AT THE AGE OF 79. 932 00:57:07,987 --> 00:57:10,287 {\an1}SHE'D BEEN LIVING IN MEMPHIS, TENNESSEE WITH ONE 933 00:57:10,321 --> 00:57:12,287 OF HIS SISTERS. 934 00:57:12,321 --> 00:57:14,887 {\an1}HEMINGWAY HAD BEEN SUPPORTING HIS MOTHER BUT HAD NOT 935 00:57:14,921 --> 00:57:16,754 {\an1}SEEN HER IN YEARS. 936 00:57:16,787 --> 00:57:19,687 {\an1}"I HATE HER GUTS," HE EXPLAINED TO A FRIEND, 937 00:57:19,721 --> 00:57:21,754 {\an1}"AND SHE HATES MINE." 938 00:57:21,787 --> 00:57:25,554 {\an1}HE DID NOT ATTEND HER FUNERAL EITHER, BUT HE DID SOFTEN 939 00:57:25,587 --> 00:57:28,421 {\an1}A LITTLE AT HER DEATH. 940 00:57:28,454 --> 00:57:31,554 {\an1}"I HAVE BEEN THINKING ABOUT HOW BEAUTIFUL SHE WAS WHEN SHE 941 00:57:31,587 --> 00:57:35,254 {\an1}WAS YOUNG, " HE WROTE, " BEFORE EVERYTHING WENT TO HELL IN OUR 942 00:57:35,287 --> 00:57:39,421 {\an1}"FAMILY AND ABOUT HOW HAPPY WE ALL WERE AS CHILDREN 943 00:57:39,454 --> 00:57:41,454 {\an1}BEFORE IT ALL BROKE UP." 944 00:57:43,254 --> 00:57:46,654 {\an1}MORE FAMILY HELL HAD FOLLOWED. 945 00:57:46,687 --> 00:57:50,754 {\an1}IN SEPTEMBER OF THAT YEAR, 19-YEAR-OLD GREGORY HEMINGWAY 946 00:57:50,787 --> 00:57:53,254 {\an1}WAS ARRESTED IN THE LADIES ROOM OF A LOS ANGELES 947 00:57:53,287 --> 00:57:57,421 {\an1}MOVIE THEATER WEARING WOMEN'S CLOTHES. 948 00:57:57,454 --> 00:58:02,287 {\an1}AFTER HIS ARREST, HIS MOTHER, PAULINE, HEMINGWAY'S SECOND WIFE, 949 00:58:02,321 --> 00:58:07,154 {\an1}RUSHED TO LOS ANGELES TO BAIL HIM OUT, THEN SPOKE BY PHONE 950 00:58:07,187 --> 00:58:09,487 {\an1}WITH HEMINGWAY IN CUBA. 951 00:58:09,521 --> 00:58:13,621 {\an1}EACH BLAMED THE OTHER FOR WHAT HAD HAPPENED TO THEIR SON. 952 00:58:13,654 --> 00:58:17,754 {\an1}THERE WAS SHOUTING AND TEARS. 953 00:58:17,787 --> 00:58:21,021 {\an1}PATRICK: THE TWO OF THEM WENT AT EACH OTHER TOOTH AND NAIL 954 00:58:21,054 --> 00:58:24,087 {\an1}ABOUT WHO WAS RESPONSIBLE FOR THIS. 955 00:58:24,121 --> 00:58:29,354 {\an7}MY DAD AND MY MOTHER REALLY HAD A TERRIBLE TELEPHONE 956 00:58:29,387 --> 00:58:32,087 {\an1}CONVERSATION ABOUT IT. 957 00:58:32,121 --> 00:58:36,754 {\an1}NARRATOR: THAT NIGHT, PAULINE WAS RUSHED TO THE HOSPITAL IN AGONY. 958 00:58:36,787 --> 00:58:42,054 {\an1}A RARE AND UNDIAGNOSED ADRENAL TUMOR HAD BURST. 959 00:58:42,087 --> 00:58:45,021 SHE DIED ON THE OPERATING TABLE. 960 00:58:46,621 --> 00:58:49,754 {\an1}PATRICK: IT WAS A DISASTER ALL AROUND. 961 00:58:49,787 --> 00:58:53,321 {\an1}AND FROM THAT TIME ON, THE RELATIONSHIP BETWEEN GREG 962 00:58:53,354 --> 00:58:55,287 {\an1}AND MY DAD WAS TERRIBLE. 963 00:58:55,321 --> 00:58:58,554 {\an1}NARRATOR: HEMINGWAY TOLD GREGORY THAT THE SHOCK OF HIS ARREST 964 00:58:58,587 --> 00:59:01,887 HAD CAUSED HIS MOTHER'S DEATH. 965 00:59:01,921 --> 00:59:05,987 {\an1}GREGORY RESPONDED WITH FURY. 966 00:59:06,021 --> 00:59:08,487 {\an1}MAN, AS GREGORY: "WHEN IT'S ALL ADDED UP, PAPA, IT WILL BE... 967 00:59:08,521 --> 00:59:12,487 {\an1}"HE WROTE A FEW GOOD STORIES, HAD A FRESH APPROACH TO REALITY, 968 00:59:12,521 --> 00:59:16,654 {\an1}"AND HE DESTROYED 5 PERSONS... HADLEY, PAULINE, 969 00:59:16,687 --> 00:59:22,654 {\an1}"MARTY, PATRICK, AND POSSIBLY MYSELF. 970 00:59:22,687 --> 00:59:27,087 {\an1}"WHICH DO YOU THINK IS THE MOST IMPORTANT, YOU SELF-CENTERED [BLEEP], 971 00:59:27,121 --> 00:59:29,154 {\an1}"THE STORIES OR THE PEOPLE? 972 00:59:29,187 --> 00:59:30,987 {\an1}"I SUPPOSE YOU WONDER 973 00:59:31,021 --> 00:59:34,254 {\an1}"WHAT HAS HAPPENED TO ALL MY FILIAL RESPECT FOR YOU. 974 00:59:34,287 --> 00:59:38,554 {\an1}"WELL, IT'S GONE, ERNESTINE, DEAR, IT'S GONE! 975 00:59:38,587 --> 00:59:41,721 {\an1}"IT'S GONE WITH THE HUNDRED THOUSAND CRUELTIES YOU HAVE 976 00:59:41,754 --> 00:59:44,354 {\an1}"INFLICTED ON PEOPLE FOR THE LAST 10 YEARS AND WITH THE 977 00:59:44,387 --> 00:59:48,054 {\an1}"THOUSAND RIGHTEOUS DRUNKS OF THAT PERIOD. 978 00:59:48,087 --> 00:59:52,187 {\an1}"YOU'LL NEVER WRITE THAT GREAT NOVEL BECAUSE YOU'RE A SICK MAN... 979 00:59:52,221 --> 00:59:57,621 {\an1}"SICK IN THE HEAD AND TOO [BLEEP] PROUD AND SCARED TO ADMIT IT. 980 00:59:57,654 --> 01:00:00,854 {\an1}"IN SPITE OF THE CRITICS, THAT LAST ONE WAS AS SICKLY 981 01:00:00,887 --> 01:00:03,787 {\an1}"A BUCKET OF SENTIMENTAL SLOP AS WAS EVER SCRUBBED 982 01:00:03,821 --> 01:00:05,987 {\an1}"OFF A BARROOM FLOOR. 983 01:00:06,021 --> 01:00:09,887 {\an1}"THERE'S NOTHING I'D RATHER SEE THAN YOU WRITE A BEAUTY 984 01:00:09,921 --> 01:00:14,087 {\an1}"AND THERE'S NOTHING I'D RATHER SEE THAN YOU ACT INTELLIGENTLY, 985 01:00:14,121 --> 01:00:17,321 {\an1}"BUT UNTIL YOU DO, I'M GONNA GIVE YOU JUST 986 01:00:17,354 --> 01:00:21,021 {\an1}"WHAT YOU DESERVE, AND IN EXTRA-LARGE HANDFULS TO MAKE UP 987 01:00:21,054 --> 01:00:24,154 {\an1}FOR THE TROUBLE YOU'VE CAUSED ME." 988 01:00:26,587 --> 01:00:28,363 {\an1}MAN, AS HEMINGWAY: "I HAVE LEARNED FROM YOUR LETTERS, 989 01:00:28,387 --> 01:00:31,387 {\an1}"IF I DID NOT KNOW IT BEFORE, THAT I AM NOT ALWAYS 990 01:00:31,421 --> 01:00:33,821 {\an1}"A CHARMING CHARACTER. 991 01:00:33,854 --> 01:00:40,087 {\an1}"BUT I AM NOT A GIN-SOAKED MONSTER GOING AROUND RUINING PEOPLE'S LIVES. 992 01:00:40,121 --> 01:00:42,987 {\an1}"YOUR MOTHER WROTE ME BEFORE SHE DIED THAT 993 01:00:43,021 --> 01:00:46,487 {\an1}"YOU STILL HAD FLASHES OF YOUR OLD CHARM AND DECENCY 994 01:00:46,521 --> 01:00:49,454 {\an1}"AND THAT WE SHOULD NEVER GIVE UP HOPE THAT YOU WOULD COME 995 01:00:49,487 --> 01:00:53,021 {\an1}"THROUGH WHATEVER WAS HAPPENING TO YOU. 996 01:00:53,054 --> 01:00:57,621 {\an1}"RIGHT NOW, I COULD USE A GOOD FLASH OF YOUR OLD CHARM AND DECENCY. 997 01:00:57,654 --> 01:01:03,754 {\an1}I CANNOT USE ANY MORE OBSCENE OR THREATENING LETTERS." 998 01:01:03,787 --> 01:01:06,454 {\an1}NARRATOR: GREGORY WOULD LATER APOLOGIZE. 999 01:01:06,487 --> 01:01:10,521 {\an1}"I DIDN'T MEAN TO SAY THOSE THINGS," HE WROTE TO HIS FATHER. 1000 01:01:10,554 --> 01:01:14,387 {\an1}HEMINGWAY WROTE BACK, "NOW EVERYTHING IS STRAIGHT... 1001 01:01:14,421 --> 01:01:16,921 {\an1}"NOT CHICKEN[BLEEP] LIKE FORGIVENESS. 1002 01:01:16,954 --> 01:01:18,454 "RUBBED OUT. 1003 01:01:18,487 --> 01:01:22,654 {\an1}ANY TIME YOU WANT TO SHOW UP, SHOW UP." 1004 01:01:22,687 --> 01:01:28,221 {\an1}THAT IT IS DANGEROUS TO BE THE CHILD OF A WRITER IS 1005 01:01:28,254 --> 01:01:31,387 {\an1}CERTAINLY SUSTAINABLE. 1006 01:01:31,421 --> 01:01:36,287 {\an1}I THINK MY YOUNGER BROTHER IS AS GOOD AN EXAMPLE AS ANY. 1007 01:01:36,321 --> 01:01:40,421 I MEAN, THE MOST GRAPHIC REPRESENTATION OF THIS 1008 01:01:40,454 --> 01:01:46,854 {\an1}IS A GOYA PAINTING "CRONUS EATING HIS CHILDREN." 1009 01:01:46,887 --> 01:01:50,454 {\an1}IT'S PRETTY GOOD, YOU KNOW. 1010 01:01:55,554 --> 01:01:57,521 [ROAR] 1011 01:01:57,554 --> 01:02:00,054 {\an1}MAN, AS HEMINGWAY: THAT NIGHT WHEN WE HAD GONE TO OUR OWN BEDS 1012 01:02:00,087 --> 01:02:04,654 {\an1}BUT WERE NOT YET ASLEEP, WE HEARD THE LION ROAR. 1013 01:02:04,687 --> 01:02:08,487 {\an1}HE WAS NORTH OF THE CAMP AND THE ROAR CAME LOW AND MOUNTING 1014 01:02:08,521 --> 01:02:12,154 {\an1}IN HEAVINESS AND THEN ENDED IN A SIGH. 1015 01:02:12,187 --> 01:02:15,554 {\an1}"I'M COMING IN WITH YOU," MARY SAID. 1016 01:02:15,587 --> 01:02:19,021 {\an1}WE LAY CLOSE TOGETHER IN THE DARK UNDER THE MOSQUITO BAR, 1017 01:02:19,054 --> 01:02:21,387 {\an1}MY ARM AROUND HER, AND LISTENED TO HIM 1018 01:02:21,421 --> 01:02:22,954 ROAR AGAIN. 1019 01:02:22,987 --> 01:02:25,054 [LION ROARS] 1020 01:02:25,087 --> 01:02:28,721 {\an1}"THERE'S NO MISTAKING WHEN IT'S HIM," MARY SAID. 1021 01:02:28,754 --> 01:02:32,121 {\an1}"I'M GLAD WE'RE IN BED TOGETHER WHEN WE HEAR HIM." 1022 01:02:33,854 --> 01:02:39,221 {\an1}NARRATOR: IN THE SUMMER OF 1953, 20 YEARS AFTER HIS FIRST VISIT, 1023 01:02:39,254 --> 01:02:43,321 {\an1}HEMINGWAY RETURNED TO EAST AFRICA WITH MARY. 1024 01:02:43,354 --> 01:02:46,454 {\an1}FOR A MONTH, THEY WERE THE SOLE FOREIGNERS PERMITTED 1025 01:02:46,487 --> 01:02:51,321 {\an1}IN THE SOUTHERN GAME RESERVE, 40 MILES SOUTH OF NAIROBI. 1026 01:02:51,354 --> 01:02:55,087 {\an1}PATRICK: THE KENYA GOVERNMENT HAD SET HIM UP ON THIS. 1027 01:02:55,121 --> 01:02:58,521 {\an1}THEY JUST HAD A MAJOR INSURRECTION. 1028 01:02:58,554 --> 01:03:00,821 {\an1}IT WAS AFFECTING TOURISM. 1029 01:03:00,854 --> 01:03:04,021 {\an1}THEY WANTED HIM TO HAVE A GOOD TIME. 1030 01:03:04,054 --> 01:03:06,687 {\an1}AND BOY WAS HE HAVING A GOOD TIME! 1031 01:03:06,721 --> 01:03:10,054 {\an1}NARRATOR: PATRICK NOW OWNED A FARM IN EAST AFRICA AND WORKED 1032 01:03:10,087 --> 01:03:13,987 {\an1}AS A GUIDE AND HUNTER, DESPITE A GUERRILLA UPRISING AGAINST 1033 01:03:14,021 --> 01:03:15,221 {\an1}WHITE COLONIAL RULE. 1034 01:03:15,254 --> 01:03:17,121 [GUNSHOT] 1035 01:03:17,154 --> 01:03:20,521 {\an1}THEY HUNTED FOR A TIME, BUT HEMINGWAY WAS DRINKING EVEN 1036 01:03:20,554 --> 01:03:24,687 {\an1}MORE HEAVILY THAN USUAL, SHOT POORLY, ONCE FELL 1037 01:03:24,721 --> 01:03:26,721 FROM HIS JEEP. 1038 01:03:26,754 --> 01:03:30,721 {\an1}HE FINALLY STOPPED SHOOTING ALTOGETHER, DRIVING OUT FROM 1039 01:03:30,754 --> 01:03:35,187 {\an1}CAMP INSTEAD EACH MORNING WITH MARY, JUST TO SEE 1040 01:03:35,221 --> 01:03:37,487 {\an7}AND PHOTOGRAPH THE ANIMALS. 1041 01:03:44,287 --> 01:03:48,221 {\an1}"HE LOVED AFRICA," A MEMBER OF HIS PARTY REMEMBERED. 1042 01:03:48,254 --> 01:03:51,154 {\an1}"HE LOVED TO SIT IN IT AND WATCH IT. 1043 01:03:51,187 --> 01:03:55,154 {\an1}HE HAD NATURAL KNOWLEDGE OF WHAT ANIMALS DO AND WHERE 1044 01:03:55,187 --> 01:03:57,721 THEY SHOULD BE." 1045 01:03:57,754 --> 01:04:01,421 {\an1}BEEGEL: HEMINGWAY, I THINK, WAS ALSO REALLY INTERESTED 1046 01:04:01,454 --> 01:04:04,887 {\an1}IN THE PEOPLE AND WHO THEY ACTUALLY WERE, A LOT MORE 1047 01:04:04,921 --> 01:04:07,454 {\an7}INTERESTED THAN HE WAS IN THE THIRTIES WHEN HE WAS JUST THERE 1048 01:04:07,487 --> 01:04:11,121 {\an7}REALLY TO HUNT AND NOT PAYING ATTENTION TO WHAT WAS 1049 01:04:11,154 --> 01:04:12,821 {\an1}ACTUALLY GOING ON. 1050 01:04:12,854 --> 01:04:16,121 {\an1}DUDLEY: WHEN HEMINGWAY COMES BACK, EAST AFRICA 1051 01:04:16,154 --> 01:04:20,421 IN COLONIALISM, IS LITERALLY UNDER ATTACK. 1052 01:04:20,454 --> 01:04:23,687 {\an1}AND HE SEES AN AFRICA THAT IS LESS TOLERANT OF SOME OF THE... 1053 01:04:23,721 --> 01:04:26,621 {\an1}BEHAVIOR THAT HE EXHIBITED EARLY ON. 1054 01:04:26,654 --> 01:04:29,654 {\an1}IT WAS WRONG TO CALL, SAY, THOSE GROWN MEN WHO WERE 1055 01:04:29,687 --> 01:04:32,621 {\an1}SERVING HIM, "BOYS" AND NOT WANTING TO ACTIVELY GET TO 1056 01:04:32,654 --> 01:04:34,587 KNOW THEM. 1057 01:04:34,621 --> 01:04:38,287 {\an1}NARRATOR: HE NOW CONSIDERED THE KENYAN GUIDES AND SERVANTS 1058 01:04:38,321 --> 01:04:40,021 {\an1}"FRIENDS AND BROTHERS." 1059 01:04:40,054 --> 01:04:43,254 {\an1}HE WROTE, "EVERYONE HAD HIS DUTIES AND EVERYONE 1060 01:04:43,287 --> 01:04:45,787 HAD A NAME." 1061 01:04:45,821 --> 01:04:49,754 {\an1}BUT WHEN MARY WENT OFF TO NAIROBI TO DO SOME CHRISTMAS SHOPPING, 1062 01:04:49,787 --> 01:04:53,387 {\an1}HE SOMEHOW PERSUADED HIMSELF THAT IN HER ABSENCE 1063 01:04:53,421 --> 01:04:58,287 {\an1}HE SHOULD JOIN THE WAKAMBA PEOPLE AND MARRY A YOUNG WOMAN. 1064 01:04:58,321 --> 01:05:02,487 {\an1}HE SHAVED HIS HEAD, DYED HIS CLOTHES TO IMITATE THEIRS, 1065 01:05:02,521 --> 01:05:06,254 {\an1}AND TRIED HUNTING A WARTHOG WITH A SPEAR. 1066 01:05:08,921 --> 01:05:13,721 {\an1}DESPITE HIS BIZARRE BEHAVIOR, IN AFRICA, HE AND MARY WERE AS 1067 01:05:13,754 --> 01:05:17,021 {\an1}CLOSE AS THEY HAD EVER BEEN. 1068 01:05:17,054 --> 01:05:20,287 {\an1}MAN, AS HEMINGWAY: MARY IS A PRINCE OF DEVILS, 1069 01:05:20,321 --> 01:05:23,654 {\an1}AND ALMOST ANY PLACE YOU TOUCH HER IT CAN KILL BOTH 1070 01:05:23,687 --> 01:05:25,521 YOU AND HER. 1071 01:05:25,554 --> 01:05:29,821 {\an1}SHE HAS ALWAYS WANTED TO BE A BOY AND THINKS AS A BOY 1072 01:05:29,854 --> 01:05:32,754 {\an1}WITHOUT EVER LOSING ANY FEMININITY. 1073 01:05:32,787 --> 01:05:37,221 {\an1}IF YOU SHOULD BECOME CONFUSED ON THIS, YOU SHOULD RETIRE. 1074 01:05:37,254 --> 01:05:42,087 {\an1}SHE LOVES ME TO BE HER GIRLS, WHICH I LOVE TO BE, NOT BEING 1075 01:05:42,121 --> 01:05:44,487 {\an1}ABSOLUTELY STUPID. 1076 01:05:44,521 --> 01:05:47,921 {\an1}IN RETURN, SHE MAKES ME AWARDS 1077 01:05:47,954 --> 01:05:51,087 {\an1}AND AT NIGHT WE DO EVERY SORT OF THING WHICH PLEASES HER 1078 01:05:51,121 --> 01:05:53,321 {\an1}AND WHICH PLEASES ME. 1079 01:05:53,354 --> 01:05:55,387 {\an1}I LOVED FEELING THE EMBRACE 1080 01:05:55,421 --> 01:05:58,787 {\an1}OF MARY WHICH CAME TO ME AS SOMETHING QUITE NEW 1081 01:05:58,821 --> 01:06:02,421 {\an1}AND OUTSIDE ALL TRIBAL LAW. 1082 01:06:02,454 --> 01:06:07,187 {\an1}ON THE NIGHT OF DECEMBER 19th, WE WORKED OUT THESE THINGS 1083 01:06:07,221 --> 01:06:10,287 {\an1}AND I HAVE NEVER BEEN HAPPIER. 1084 01:06:11,921 --> 01:06:15,921 {\an1}NARRATOR: AS A CHRISTMAS GIFT FOR HIS WIFE, HEMINGWAY HIRED 1085 01:06:15,954 --> 01:06:20,721 {\an1}A SMALL PLANE THAT FLEW THEM OVER THE NGORONGORO CRATER, 1086 01:06:20,754 --> 01:06:24,154 {\an1}THE MOUNTAINS OF THE MOON, AND THE MIGHTY MURCHISON FALLS 1087 01:06:24,187 --> 01:06:26,954 IN UGANDA. 1088 01:06:26,987 --> 01:06:31,921 {\an1}AS THE PLANE DIPPED LOW ABOVE THE GORGE SO MARY COULD TAKE PHOTOGRAPHS, 1089 01:06:31,954 --> 01:06:35,154 {\an1}THE PILOT ENCOUNTERED A FLOCK OF BIRDS, 1090 01:06:35,187 --> 01:06:40,954 {\an1}DOVE TO AVOID THEM, AND HIT A TELEGRAPH LINE. 1091 01:06:40,987 --> 01:06:43,954 THE PLANE PLUNGED INTO THE BUSH. 1092 01:06:43,987 --> 01:06:48,254 {\an1}MARY WAS KNOCKED UNCONSCIOUS, TWO RIBS BROKEN. 1093 01:06:48,287 --> 01:06:51,421 {\an1}HEMINGWAY SUFFERED A TORN SHOULDER. 1094 01:06:51,454 --> 01:06:54,621 {\an1}THEY SPENT THE NIGHT HIGH ABOVE THE BANK OF THE NILE 1095 01:06:54,654 --> 01:06:58,054 {\an1}FOR FEAR OF ELEPHANTS, FORTIFIED BY A BOTTLE 1096 01:06:58,087 --> 01:07:01,654 {\an1}OF SCOTCH THAT HAD SOMEHOW SURVIVED THE CRASH 1097 01:07:01,687 --> 01:07:04,887 {\an1}AND LISTENING TO THE CRIES OF HYENAS. 1098 01:07:07,287 --> 01:07:11,621 {\an1}A SEARCH PLANE SPOTTED THE WRECKAGE BUT FAILED TO SEE 1099 01:07:11,654 --> 01:07:13,587 THE SURVIVORS. 1100 01:07:15,687 --> 01:07:19,421 {\an1}WORD QUICKLY SPREAD AROUND THE WORLD THAT THE GREAT WRITER 1101 01:07:19,454 --> 01:07:23,587 {\an1}ERNEST HEMINGWAY WAS DEAD. 1102 01:07:23,621 --> 01:07:28,154 {\an1}MEANWHILE, HEMINGWAY HAD FLAGGED DOWN A PASSING LAUNCH 1103 01:07:28,187 --> 01:07:31,054 {\an1}AND WHEN THEY REACHED A LANDING ON THE EASTERN SHORE 1104 01:07:31,087 --> 01:07:34,854 {\an1}OF LAKE ALBERT, A POLICEMAN AND A BUSH PILOT OFFERED TO 1105 01:07:34,887 --> 01:07:38,887 {\an1}FLY THEM ON TO THE UGANDAN CAPITAL, ENTEBBE. 1106 01:07:38,921 --> 01:07:42,354 {\an1}THEY CLIMBED ABOARD. 1107 01:07:42,387 --> 01:07:45,954 {\an1}BUT AS THE ANCIENT PLANE RATTLED DOWN THE RUTTED RUNWAY, 1108 01:07:45,987 --> 01:07:48,887 THE FUEL TANK EXPLODED IN FIRE. 1109 01:07:48,921 --> 01:07:51,121 {\an1}[ENGINE SPUTTERING; EXPLOSION] 1110 01:07:51,154 --> 01:07:54,454 {\an1}THE PILOT HELPED MARY AND THE POLICEMAN GET OUT THROUGH 1111 01:07:54,487 --> 01:07:55,987 THE WINDOWS. 1112 01:07:56,021 --> 01:07:59,154 {\an1}HEMINGWAY WAS TOO BIG TO FOLLOW THEM. 1113 01:07:59,187 --> 01:08:01,587 {\an1}TWISTED METAL BARRED THE DOOR. 1114 01:08:01,621 --> 01:08:03,521 {\an1}FLAMES WERE RISING. 1115 01:08:03,554 --> 01:08:05,521 {\an1}HEMINGWAY WAS TRAPPED. 1116 01:08:05,554 --> 01:08:09,687 {\an1}HE HURLED HIS HEAD AGAINST THE DOOR AGAIN AND AGAIN UNTIL 1117 01:08:09,721 --> 01:08:11,454 {\an1}HE BATTERED IT OPEN. 1118 01:08:14,221 --> 01:08:18,087 {\an1}HE INSISTED TO NEWSMEN GATHERED IN ENTEBBE THAT HE 1119 01:08:18,121 --> 01:08:19,821 {\an1}HAD NEVER FELT BETTER. 1120 01:08:19,854 --> 01:08:23,487 {\an1}"MY LUCK, SHE IS STILL GOOD," HE SAID. 1121 01:08:23,521 --> 01:08:26,154 {\an1}AND HE LOOKED FORWARD TO READING ALL THE PREMATURE 1122 01:08:26,187 --> 01:08:28,921 {\an1}OBITUARIES THAT HAD ALREADY BEEN PUBLISHED 1123 01:08:28,954 --> 01:08:32,287 AROUND THE WORLD. 1124 01:08:32,321 --> 01:08:35,754 {\an1}MAN, AS HEMINGWAY: IN ALL OBITUARIES, OR ALMOST ALL, 1125 01:08:35,787 --> 01:08:41,354 {\an1}IT WAS EMPHASIZED THAT I HAD SOUGHT DEATH ALL MY LIFE. 1126 01:08:41,387 --> 01:08:45,621 {\an1}CAN ONE IMAGINE THAT IF A MAN SOUGHT DEATH ALL OF HIS LIFE 1127 01:08:45,654 --> 01:08:49,821 {\an1}HE COULD NOT HAVE FOUND HER BEFORE THE AGE OF 54? 1128 01:08:51,621 --> 01:08:57,054 {\an1}BEEGEL: WHO ELSE GETS IN TWO PLANE CRASHES IN TWO DAYS IN AFRICA, 1129 01:08:57,087 --> 01:09:00,054 {\an1}HAS THE WORD GO OUT ALL OVER THE WORLD THAT HE'S DEAD, 1130 01:09:00,087 --> 01:09:01,821 AND READS HIS OWN OBITUARIES? 1131 01:09:01,854 --> 01:09:03,587 NO ONE DOES THAT. 1132 01:09:03,621 --> 01:09:05,497 {\an1}NEWSREEL NARRATOR: SURVIVING TWO AIRPLANE CRASHES 1133 01:09:05,521 --> 01:09:08,587 {\an1}IN THE INTERIOR OF AFRICA, ERNEST HEMINGWAY AND HIS PILOT 1134 01:09:08,621 --> 01:09:10,921 {\an1}ROY MARCH RETURNED TO NAIROBI IN HIGH FETTLE. 1135 01:09:10,954 --> 01:09:13,321 {\an1}ON THE SECOND CRASH, HEMINGWAY SUFFERED A BAD BUMP 1136 01:09:13,354 --> 01:09:14,921 ON THE HEAD. 1137 01:09:14,954 --> 01:09:16,987 {\an1}MRS. HEMINGWAY, HOWEVER, CAME THROUGH UNSCATHED. 1138 01:09:17,021 --> 01:09:19,054 [NEWSREEL MUSIC] 1139 01:09:21,454 --> 01:09:25,221 {\an1}NARRATOR: DESPITE HEMINGWAY'S BRAVADO, DOCTORS CONFIRMED 1140 01:09:25,254 --> 01:09:27,454 {\an1}THAT HE HAD NEARLY DIED. 1141 01:09:27,487 --> 01:09:31,254 {\an1}HIS SKULL WAS FRACTURED AND HE HAD SUFFERED STILL ANOTHER 1142 01:09:31,287 --> 01:09:32,987 {\an1}TRAUMATIC BRAIN INJURY, 1143 01:09:33,021 --> 01:09:35,354 SLURRED SPEECH, DOUBLE-VISION, 1144 01:09:35,387 --> 01:09:37,321 {\an1}RECURRING DEAFNESS. 1145 01:09:37,354 --> 01:09:40,354 {\an1}HE HAD FIRST-DEGREE BURNS ON HIS HEAD, FACE, 1146 01:09:40,387 --> 01:09:41,687 AND HAND, TOO, 1147 01:09:41,721 --> 01:09:43,521 {\an1}TWO FRACTURED VERTEBRAE, 1148 01:09:43,554 --> 01:09:45,354 {\an1}INTERNAL INJURIES, 1149 01:09:45,387 --> 01:09:50,154 {\an1}RIGHT SHOULDER AND ARM AND LEFT LEG BADLY SPRAINED. 1150 01:09:50,187 --> 01:09:53,987 {\an1}KATAKIS: HE'S NEVER REALLY QUITE THE SAME AGAIN. 1151 01:09:54,021 --> 01:09:59,654 {\an1}DEPRESSION, HALLUCINATIONS, AND THEN A KIND OF REPRIEVE. 1152 01:09:59,687 --> 01:10:02,821 {\an1}HE'S ABLE TO DO MORE WORK. 1153 01:10:02,854 --> 01:10:09,454 {\an7}HE'S TRAVELING ABOUT, BUT WE'RE AT THE BEGINNING 1154 01:10:09,487 --> 01:10:12,721 {\an8}OF WHAT IS GOING TO BE THE END. 1155 01:10:12,754 --> 01:10:16,821 {\an1}NARRATOR: HE MANAGED TO DICTATE A 15,000-WORD ACCOUNT 1156 01:10:16,854 --> 01:10:20,121 {\an1}OF WHAT HAD HAPPENED FOR "LOOK" MAGAZINE, THEN TRAVELED 1157 01:10:20,154 --> 01:10:24,254 {\an1}WITH MARY TO SHIMONI, A CAMP ON THE KENYA COAST WHERE HE 1158 01:10:24,287 --> 01:10:27,387 {\an1}HAD PLANNED TO FISH WITH HIS SON, PATRICK. 1159 01:10:27,421 --> 01:10:29,721 {\an1}BUT HIS PAIN PROVED TOO GREAT. 1160 01:10:29,754 --> 01:10:32,754 {\an1}DOCTORS WARNED HIM THAT HE WAS RISKING HIS LIFE BY 1161 01:10:32,787 --> 01:10:34,587 {\an1}CONTINUING TO DRINK. 1162 01:10:34,621 --> 01:10:37,987 {\an1}AND SOMETHING ELSE WAS WRONG, AS WELL. 1163 01:10:38,021 --> 01:10:41,154 {\an1}"DUE TO THE CEREBRAL THING," HE WROTE TO A FRIEND. 1164 01:10:41,187 --> 01:10:45,021 {\an1}"I SAY TERRIBLE THINGS AND HEAR MYSELF SAY THEM. 1165 01:10:45,054 --> 01:10:47,487 IT IS NO GOOD." 1166 01:10:47,521 --> 01:10:51,787 {\an1}HEMINGWAY WAS FEARFUL, SHORT-TEMPERED, IMPATIENT, 1167 01:10:51,821 --> 01:10:55,787 {\an1}SO ABUSIVE TO MARY THAT SHE AGAIN THREATENED TO LEAVE HIM, 1168 01:10:55,821 --> 01:11:00,487 {\an1}SO VICIOUS TO HIS SON THAT PATRICK DID LEAVE. 1169 01:11:00,521 --> 01:11:06,187 {\an1}PATRICK: THE ATMOSPHERE AT SHIMONI WAS BAD. 1170 01:11:06,221 --> 01:11:10,187 {\an1}I MEAN MY DAD REALLY... 1171 01:11:10,221 --> 01:11:11,687 [SIGHS] I DON'T KNOW. 1172 01:11:11,721 --> 01:11:14,287 I MEAN, IT WAS LIKE KING LEAR. 1173 01:11:14,321 --> 01:11:16,887 AND HE'S JUST, "WHAT IS GOING ON HERE? 1174 01:11:16,921 --> 01:11:19,221 {\an1}AREN'T I KING?" YOU KNOW. 1175 01:11:19,254 --> 01:11:22,521 {\an1}I SYMPATHIZED WITH HIS PROBLEMS, 1176 01:11:22,554 --> 01:11:26,654 {\an1}BUT YOU HAVE TO SHOW SOME RESTRAINT. 1177 01:11:26,687 --> 01:11:34,154 {\an1}THE LAST FEW WEEKS IN AFRICA, HE JUST LOST ALL RESTRAINT. 1178 01:11:34,187 --> 01:11:39,187 {\an1}AND FOR SOMEONE AS POWERFUL AND AS... 1179 01:11:39,221 --> 01:11:42,854 {\an1}HE... I REALLY HAD ENOUGH. 1180 01:11:42,887 --> 01:11:44,821 AND WE NEVER SAW EACH OTHER AGAIN. 1181 01:11:49,187 --> 01:11:52,387 {\an1}[DUKE ELLINGTON'S "I LET A SONG GO OUT OF MY HEART" PLAYING] 1182 01:11:59,554 --> 01:12:01,954 {\an1}NARRATOR: THE HEMINGWAYS EVENTUALLY MADE THEIR WAY 1183 01:12:01,987 --> 01:12:05,254 HOME TO CUBA. 1184 01:12:05,287 --> 01:12:10,354 {\an1}IT WAS THERE, ON THE EVENING OF OCTOBER 28, 1954, 1185 01:12:10,387 --> 01:12:13,221 {\an1}THAT ERNEST RECEIVED A CALL FROM A REPORTER 1186 01:12:13,254 --> 01:12:16,187 FOR UNITED PRESS INTERNATIONAL. 1187 01:12:16,221 --> 01:12:20,454 {\an1}HEMINGWAY HAD WON WHAT HE CALLED "THE SWEDISH THING"... 1188 01:12:20,487 --> 01:12:23,454 THE NOBEL PRIZE FOR LITERATURE. 1189 01:12:23,487 --> 01:12:26,621 {\an1}HIS HEALTH WOULD NOT PERMIT HIM TO ATTEND THE CEREMONY 1190 01:12:26,654 --> 01:12:30,187 {\an1}IN STOCKHOLM OR EVEN TRAVEL TO THE SWEDISH EMBASSY 1191 01:12:30,221 --> 01:12:33,754 {\an1}IN WASHINGTON TO ACCEPT THE PRIZE, SO THE SWEDISH 1192 01:12:33,787 --> 01:12:37,187 AMBASSADOR CAME TO HIM, IN CUBA. 1193 01:12:37,221 --> 01:12:41,621 {\an1}PRIVATELY, HEMINGWAY BELIEVED, "NO SON OF A BITCH WHO EVER 1194 01:12:41,654 --> 01:12:44,887 {\an1}WON THE NOBEL PRIZE EVER WROTE ANYTHING WORTH 1195 01:12:44,921 --> 01:12:47,987 {\an1}READING AFTERWARDS." 1196 01:12:48,021 --> 01:12:49,821 {\an1}TELL ME, DO YOU PLAN TO GO TO SWEDEN TO 1197 01:12:49,854 --> 01:12:51,754 {\an1}RECEIVE THE AWARD? 1198 01:12:51,787 --> 01:12:57,154 I'M SORRY THAT I WILL NOT BE ABLE TO GO TO SWEDEN 1199 01:12:57,187 --> 01:13:01,687 ON THE ORDERS OF MY DOCTOR WHO SAYS 1200 01:13:01,721 --> 01:13:04,721 I'M DOING VERY WELL AFTER... 1201 01:13:04,754 --> 01:13:06,987 {\an1}NARRATOR: HE HAD ALWAYS BEEN TERRIFIED 1202 01:13:07,021 --> 01:13:10,254 {\an1}OF SPEAKING IN PUBLIC, BUT HE RELUCTANTLY AGREED 1203 01:13:10,287 --> 01:13:14,421 {\an1}TO BE INTERVIEWED BY NBC, PROVIDED QUESTIONS WERE 1204 01:13:14,454 --> 01:13:18,187 {\an1}SUBMITTED IN ADVANCE AND HE COULD READ OUT HIS ANSWERS 1205 01:13:18,221 --> 01:13:20,321 FROM CUE CARDS. BAD FOR ME. 1206 01:13:20,354 --> 01:13:23,121 {\an1}DO YOU HAVE A NAME FOR YOUR NEW NOVEL? 1207 01:13:23,154 --> 01:13:26,754 I NEVER HAVE ANY NAMES FOR ANYTHING THAT 1208 01:13:26,787 --> 01:13:31,187 I PUBLISH UNTIL IT IS TIME TO PUBLISH IT. 1209 01:13:31,221 --> 01:13:37,621 {\an1}AS I SELECT A GREAT MANY NAMES AND THEN REJECT THOSE, 1210 01:13:37,654 --> 01:13:40,854 WHICH ARE WORTHLESS. PERIOD. 1211 01:13:40,887 --> 01:13:45,121 MOST OF THEM ARE WORTHLESS. PERIOD. 1212 01:13:45,154 --> 01:13:47,821 {\an1}COULD YOU TELL ME A SHORT DESCRIPTION OF WHAT 1213 01:13:47,854 --> 01:13:50,187 {\an1}YOUR NEW NOVEL IS ABOUT? 1214 01:13:50,221 --> 01:13:56,521 UH... THE BOOK THAT I AM WRITING ON AT PRESENT IS 1215 01:13:56,554 --> 01:13:58,221 ABOUT AFRICA... 1216 01:14:00,221 --> 01:14:07,087 ITS PEOPLE, IN THE PARK THAT I KNOW THEM, 1217 01:14:07,121 --> 01:14:10,054 THE ANIMALS, 1218 01:14:10,087 --> 01:14:17,021 COMMA, AND THE CHANGES IN AFRICA 1219 01:14:17,054 --> 01:14:20,987 SINCE I WAS THERE LAST. PERIOD. 1220 01:14:23,687 --> 01:14:26,987 {\an1}NARRATOR: MUCH LATER, HE WAS PERSUADED TO RECORD HIS 1221 01:14:27,021 --> 01:14:29,987 ACCEPTANCE SPEECH OFF-CAMERA. 1222 01:14:30,021 --> 01:14:33,254 {\an1}EDNA O'BRIEN: WHEN HE WAS GIVEN THE NOBEL PRIZE, AND HE COULDN'T 1223 01:14:33,287 --> 01:14:36,921 {\an7}GO UP 'CAUSE OF ILLNESS, IT WAS SO STRANGE. 1224 01:14:36,954 --> 01:14:39,687 {\an8}WHAT HE WROTE, IT'S SO PERFECT. 1225 01:14:39,721 --> 01:14:41,821 {\an7}IT'S LIKE A PRAYER. 1226 01:14:44,321 --> 01:14:47,087 {\an1}VOICE OF HEMINGWAY: NO WRITER WHO KNOWS THE GREAT WRITERS 1227 01:14:47,121 --> 01:14:50,587 {\an1}WHO DID NOT RECEIVE THE PRIZE CAN ACCEPT IT OTHER THAN 1228 01:14:50,621 --> 01:14:52,621 WITH HUMILITY. 1229 01:14:52,654 --> 01:14:56,554 {\an1}WRITING, AT ITS BEST, IS A LONELY LIFE. 1230 01:14:56,587 --> 01:15:00,354 {\an1}ORGANIZATIONS FOR WRITERS PALLIATE THE WRITER'S 1231 01:15:00,387 --> 01:15:04,821 {\an1}LONELINESS BUT I DOUBT IF THEY IMPROVE HIS WRITING. 1232 01:15:04,854 --> 01:15:09,621 {\an1}HE GROWS IN PUBLIC STATURE AS HE SHEDS HIS LONELINESS, 1233 01:15:09,654 --> 01:15:12,087 {\an1}AND OFTEN HIS WORK DETERIORATES. 1234 01:15:14,321 --> 01:15:18,321 {\an1}FOR HE DOES HIS WORK ALONE AND IF HE IS A GOOD ENOUGH WRITER, 1235 01:15:18,354 --> 01:15:26,287 {\an1}HE MUST FACE ETERNITY, OR THE LACK OF IT, EACH DAY. 1236 01:15:26,321 --> 01:15:30,587 {\an1}IT IS BECAUSE WE HAVE HAD SUCH GREAT WRITERS IN THE PAST THAT 1237 01:15:30,621 --> 01:15:34,754 {\an1}A WRITER IS DRIVEN FAR OUT PAST WHERE HE CAN GO, OUT TO 1238 01:15:34,787 --> 01:15:37,654 {\an1}WHERE NO ONE CAN HELP HIM. 1239 01:15:37,687 --> 01:15:40,654 I HAVE SPOKEN TOO LONG FOR A WRITER. 1240 01:15:40,687 --> 01:15:44,654 {\an1}A WRITER SHOULD WRITE WHAT HE HAS TO SAY AND NOT SPEAK IT. 1241 01:15:44,687 --> 01:15:47,154 {\an1}AGAIN, I THANK YOU. 1242 01:15:50,854 --> 01:15:53,954 {\an1}NARRATOR: REQUESTS FOR INTERVIEWS NOW POURED IN. 1243 01:15:53,987 --> 01:15:57,121 {\an1}MAGAZINES FEATURED HIM ON THEIR COVERS. 1244 01:15:57,154 --> 01:16:01,187 {\an1}HOLLYWOOD RUSHED TO MAKE A REMAKE OF "A FAREWELL TO ARMS," 1245 01:16:01,221 --> 01:16:04,521 {\an1}A MOVIE OF "THE SUN ALSO RISES" AND ANOTHER 1246 01:16:04,554 --> 01:16:07,754 {\an1}OF "THE OLD MAN AND THE SEA." 1247 01:16:07,787 --> 01:16:11,054 {\an1}BIOGRAPHERS AND MOVIE STARS AND AUTOGRAPH-SEEKERS 1248 01:16:11,087 --> 01:16:13,054 {\an1}FLOCKED TO SEE HIM. 1249 01:16:13,087 --> 01:16:16,787 {\an1}HE COMPLAINED THAT SIGHTSEERS WERE TURNING UP AT THE FINCA, 1250 01:16:16,821 --> 01:16:19,221 {\an1}CLAMORING FOR A GLIMPSE OF WHAT HE CALLED 1251 01:16:19,254 --> 01:16:23,154 "THE OLD ELEPHANT IN THE ZOO." 1252 01:16:23,187 --> 01:16:28,687 {\an1}HE WAS TOLD AGAIN AND AGAIN TO STOP DRINKING. 1253 01:16:28,721 --> 01:16:31,787 {\an1}KARR: THE THING I KNOW ABOUT ALCOHOLISM, FROM PERSONAL EXPERIENCE, 1254 01:16:31,821 --> 01:16:34,687 {\an1}IS THAT IT'S PROGRESSIVE AND IT'S FATAL. 1255 01:16:34,721 --> 01:16:36,397 {\an1}AND THAT MEANS THAT IT GETS WORSE AND WORSE, 1256 01:16:36,421 --> 01:16:39,021 AND THEN YOU DIE. 1257 01:16:39,054 --> 01:16:41,821 {\an7}YOU EITHER KILL YOURSELF, YOU GET PUT IN JAIL, OR YOU GO TO 1258 01:16:41,854 --> 01:16:43,954 {\an8}THE LOONY BIN, BUT THAT'S IT. 1259 01:16:43,987 --> 01:16:49,654 {\an1}THOSE ARE YOUR 3 CHOICES, OR YOU GET SOBER. 1260 01:16:49,687 --> 01:16:52,821 {\an1}FARAH: WHEN YOU HAVE HEAD INJURY, YOUR MIND IS... 1261 01:16:52,854 --> 01:16:55,221 {\an1}AND YOUR BODY... ARE LESS WELL-EQUIPPED TO TOLERATE 1262 01:16:55,254 --> 01:16:57,221 {\an1}THE EFFECTS OF ALCOHOL. 1263 01:16:57,254 --> 01:17:01,621 {\an7}IT MAGNIFIES THE DISINHIBITION AND THE PROBLEMATIC BEHAVIORS, 1264 01:17:01,654 --> 01:17:04,921 BUT YOU JUST TOLERATE IT LESS WELL. 1265 01:17:04,954 --> 01:17:08,987 {\an1}NARRATOR: DOCTORS PRESCRIBED A BEWILDERING ARRAY OF DRUGS TO 1266 01:17:09,021 --> 01:17:12,554 {\an1}COMBAT HIGH BLOOD PRESSURE, LOWER CHOLESTEROL, 1267 01:17:12,587 --> 01:17:17,887 {\an1}CALM ANXIETY, ENCOURAGE SLEEP, LIFT HIS SPIRITS. 1268 01:17:17,921 --> 01:17:22,387 {\an1}FRIENDS OFFERED HIM UNAUTHORIZED PRESCRIPTION DRUGS, AS WELL. 1269 01:17:22,421 --> 01:17:26,054 {\an1}THEIR INTERACTIONS WITH ONE ANOTHER AND WITH ALCOHOL 1270 01:17:26,087 --> 01:17:29,887 {\an1}LIKELY EXACERBATED HIS DEPRESSION AND DELUSIONS 1271 01:17:29,921 --> 01:17:32,221 AND PARANOIA. 1272 01:17:32,254 --> 01:17:35,754 {\an7}HE'S SELF-MEDICATING WITH PRETTY MUCH ANYTHING HE 1273 01:17:35,787 --> 01:17:38,521 {\an8}CAN LAY HANDS ON. 1274 01:17:38,554 --> 01:17:42,054 {\an1}HE'S USING SYNTHETIC TESTOSTERONE, WHICH IS 1275 01:17:42,087 --> 01:17:44,754 {\an1}A STREET DRUG IN SPANISH CULTURES 'CAUSE HE'S 1276 01:17:44,787 --> 01:17:47,454 {\an1}STRUGGLING WITH IMPOTENCE BECAUSE OF ALL THE WAYS HE'S 1277 01:17:47,487 --> 01:17:48,954 ABUSED HIS BODY. 1278 01:17:48,987 --> 01:17:51,587 {\an1}HE'S BOUNCING FROM DOCTOR TO DOCTOR. 1279 01:17:51,621 --> 01:17:53,121 {\an1}THERE'S NOT A DOCTOR HE DIDN'T SEE 1280 01:17:53,154 --> 01:17:55,054 {\an1}WHO WOULDN'T GIVE HIM SOMETHING. 1281 01:17:55,087 --> 01:17:56,654 IT'S BAD. YOU KNOW, PEOPLE SAY 1282 01:17:56,687 --> 01:17:58,621 {\an1}THAT THE PEOPLE IN THIS WORLD THAT GET 1283 01:17:58,654 --> 01:18:01,354 {\an1}THE WORST MEDICAL CARE ARE EITHER THE VERY POOR 1284 01:18:01,387 --> 01:18:04,354 {\an1}OR CELEBRITIES BECAUSE CELEBRITIES CAN HAVE WHATEVER 1285 01:18:04,387 --> 01:18:06,987 {\an1}THEY ASK THE DOCTOR FOR AND THE DOCTOR WON'T SAY "NO" 1286 01:18:07,021 --> 01:18:12,221 {\an1}OR DISCIPLINE THEM, SO HE'S IN BIG TROUBLE. 1287 01:18:12,254 --> 01:18:14,687 {\an8}IT DOESN'T SOUND LIKE THE DOCTOR SAID, "LOOK, 1288 01:18:14,721 --> 01:18:16,787 {\an7}YOU SEEM TO BE MANIC," 1289 01:18:16,821 --> 01:18:18,187 {\an7}OR "LOOK, YOU SEEM TO BE 1290 01:18:18,221 --> 01:18:20,554 {\an1}"REALLY A LITTLE CRAZY NOW. 1291 01:18:20,587 --> 01:18:22,654 {\an1}I'M GONNA GIVE YOU THIS TO HELP WITH IT." 1292 01:18:22,687 --> 01:18:24,821 {\an1}NOBODY SAYS ANYTHING. 1293 01:18:24,854 --> 01:18:27,987 {\an1}THERE'S A HUGE TABOO SO THAT A HUSBAND AND WIFE DON'T EVEN 1294 01:18:28,021 --> 01:18:29,687 TALK ABOUT IT. 1295 01:18:29,721 --> 01:18:32,054 {\an1}THERE'S SO MUCH STIGMA ATTACHED TO IT THAT 1296 01:18:32,087 --> 01:18:34,821 {\an1}NOBODY GETS HELP FOR HIM. 1297 01:18:34,854 --> 01:18:36,621 [GUNFIRE] 1298 01:18:36,654 --> 01:18:38,554 {\an1}NARRATOR: MEANWHILE, REVOLUTIONARIES, 1299 01:18:38,587 --> 01:18:40,354 {\an1}LED BY FIDEL CASTRO, 1300 01:18:40,387 --> 01:18:43,221 WERE WAGING WAR AGAINST THE CUBAN DICTATOR 1301 01:18:43,254 --> 01:18:45,687 {\an1}FULGENCIO BATISTA. 1302 01:18:45,721 --> 01:18:49,187 {\an1}A GOVERNMENT PATROL CAME ONTO HEMINGWAY'S PROPERTY SEARCHING 1303 01:18:49,221 --> 01:18:54,187 {\an1}FOR REBELS AND BLUDGEONED TO DEATH ONE OF THE FAMILY DOGS. 1304 01:18:54,221 --> 01:18:58,187 {\an1}THROUGH IT ALL, HEMINGWAY CONTINUED TO WRITE, BUT NOW 1305 01:18:58,221 --> 01:19:00,554 {\an1}SEEMED UNABLE TO COMPLETE ANYTHING. 1306 01:19:00,587 --> 01:19:04,754 {\an1}A NOVEL ABOUT SAILING OFF BIMINI, THAT AFTER HIS DEATH WOULD 1307 01:19:04,787 --> 01:19:07,487 BECOME "ISLANDS IN THE STREAM;" 1308 01:19:07,521 --> 01:19:09,421 {\an1}800 PAGES OF A BOOK 1309 01:19:09,454 --> 01:19:13,554 {\an1}INSPIRED BY HIS SECOND AFRICAN SAFARI, PARTS OF WHICH WOULD 1310 01:19:13,587 --> 01:19:17,321 {\an1}ONE DAY BE PUBLISHED AS "TRUE AT FIRST LIGHT;" 1311 01:19:17,354 --> 01:19:21,921 {\an1}AND 42 CHAPTERS OF "THE GARDEN OF EDEN", A NOVEL HE HIMSELF 1312 01:19:21,954 --> 01:19:25,087 {\an1}THOUGHT TOO SEXUALLY ADVENTUROUS TO BE PUBLISHED 1313 01:19:25,121 --> 01:19:27,854 {\an1}DURING HIS LIFETIME. 1314 01:19:27,887 --> 01:19:31,421 {\an1}KATAKIS: THE FACT THAT HEMINGWAY ONCE AGAIN, 1315 01:19:31,454 --> 01:19:37,254 {\an7}THE ARTIST, IS REALLY PUSHING OUT, IS EXPERIMENTING, 1316 01:19:37,287 --> 01:19:41,387 {\an7}IS DOING THINGS THAT SOME PEOPLE WOULD FIND SHOCKING 1317 01:19:41,421 --> 01:19:45,387 {\an1}ABOUT ERNEST HEMINGWAY... THE FETISH ABOUT HAIR, 1318 01:19:45,421 --> 01:19:49,421 {\an1}THE "YOU BE ME, I'LL BE YOU," THE SWITCHING OF ROLES. 1319 01:19:49,454 --> 01:19:54,121 {\an1}AND HE'S NOT HIDING HIMSELF VERY MUCH IN IT. 1320 01:19:54,154 --> 01:19:57,954 {\an1}I THINK THIS IS REALLY QUITE SOMETHING FOR A MAN WHO HAS 1321 01:19:57,987 --> 01:20:00,421 {\an1}BEEN TRYING TO MAINTAIN A CERTAIN PERSONA 1322 01:20:00,454 --> 01:20:03,921 {\an1}FOR THE MAJORITY OF HIS LIFE. 1323 01:20:03,954 --> 01:20:07,521 {\an1}MAYBE HE WASN'T TRYING TO MAINTAIN IT, YOU KNOW. 1324 01:20:07,554 --> 01:20:09,921 HERE WE GO WITH THE ENIGMA AGAIN. 1325 01:20:09,954 --> 01:20:14,387 {\an1}WHERE ARE WE AND WHAT'S HAPPENING AND WHERE ARE YOU, ERNEST? 1326 01:20:14,421 --> 01:20:15,921 WHERE ARE YOU WITH ALL OF THIS? 1327 01:20:15,954 --> 01:20:17,854 WHAT'S GOING ON? 1328 01:20:22,287 --> 01:20:25,087 {\an1}MAN, AS HEMINGWAY: I SAT IN A CORNER WITH THE AFTERNOON 1329 01:20:25,121 --> 01:20:28,087 {\an1}LIGHT COMING IN OVER MY SHOULDER AND WROTE 1330 01:20:28,121 --> 01:20:30,087 IN THE NOTEBOOK. 1331 01:20:30,121 --> 01:20:34,254 {\an1}THE WAITER BROUGHT ME A CAFE CREME, AND I DRANK HALF OF IT 1332 01:20:34,287 --> 01:20:38,621 {\an1}WHEN IT COOLED AND LEFT IT ON THE TABLE WHILE I WROTE. 1333 01:20:38,654 --> 01:20:41,854 {\an1}WHEN I STOPPED WRITING, I DID NOT WANT TO LEAVE THE RIVER 1334 01:20:41,887 --> 01:20:46,787 {\an1}WHERE I COULD SEE THE TROUT IN THE POOL, ITS SURFACE PUSHING 1335 01:20:46,821 --> 01:20:49,121 {\an1}AND SWELLING SMOOTH AGAINST THE RESISTANCE OF THE 1336 01:20:49,154 --> 01:20:53,254 {\an1}LOG-DRIVEN PILES OF THE BRIDGE, 1337 01:20:53,287 --> 01:20:57,087 {\an1}BUT IN THE MORNING THE RIVER WOULD BE THERE. 1338 01:20:57,121 --> 01:21:00,754 {\an1}ALL I MUST DO NOW IS STAY SOUND AND GOOD IN MY HEAD 1339 01:21:00,787 --> 01:21:03,487 {\an1}UNTIL MORNING WHEN I WOULD START TO WORK AGAIN. 1340 01:21:05,154 --> 01:21:08,387 {\an1}IN THOSE DAYS, WE NEVER THOUGHT THAT ANY OF THAT COULD 1341 01:21:08,421 --> 01:21:09,954 BE DIFFICULT. 1342 01:21:11,321 --> 01:21:15,254 {\an1}NARRATOR: IN EARLY 1957, HE RETURNED TO YET ANOTHER 1343 01:21:15,287 --> 01:21:18,754 {\an1}PROJECT, A SERIES OF LOVING SKETCHES OF PARIS 1344 01:21:18,787 --> 01:21:22,654 {\an1}IN THE 1920s, WHEN HE WAS YOUNG AND EVERYTHING STILL 1345 01:21:22,687 --> 01:21:24,821 SEEMED POSSIBLE. 1346 01:21:24,854 --> 01:21:28,721 {\an1}IN IT, HE ALSO SETTLED SCORES WITH OLD FRIENDS... 1347 01:21:28,754 --> 01:21:32,154 {\an1}SCORES THAT DIDN'T SEEM TO NEED SETTLING... 1348 01:21:32,187 --> 01:21:36,421 {\an1}ATTACKING GERTRUDE STEIN, RIDICULING SCOTT FITZGERALD, 1349 01:21:36,454 --> 01:21:41,221 {\an1}BOTH OF WHOM HAD HELPED HIM, EACH OF THEM LONG DEAD. 1350 01:21:41,254 --> 01:21:46,254 {\an1}HEMINGWAY WAS THE HERO OF HIS BOOK, HIS FIRST WIFE HADLEY, 1351 01:21:46,287 --> 01:21:48,454 {\an1}THE UNBLEMISHED HEROINE, 1352 01:21:48,487 --> 01:21:50,821 PAULINE PFEIFFER, HIS SECOND WIFE, 1353 01:21:50,854 --> 01:21:53,887 {\an1}THE WOMAN WHO CAME BETWEEN THEM. 1354 01:21:53,921 --> 01:21:58,987 {\an1}HEMINGWAY WOULD NEVER COMPLETE THE MANUSCRIPT, BUT, EDITED BY MARY, 1355 01:21:59,021 --> 01:22:02,521 {\an1}IT WOULD BE PUBLISHED AFTER HIS DEATH. 1356 01:22:02,554 --> 01:22:07,021 {\an7}FOR MANY READERS, "A MOVEABLE FEAST," A COMBINATION OF WHAT 1357 01:22:07,054 --> 01:22:10,687 {\an7}HAD REALLY HAPPENED AND WHAT HEMINGWAY WISHED HAD HAPPENED, 1358 01:22:10,721 --> 01:22:13,387 {\an7}WOULD BE HIS FINAL MASTERPIECE. 1359 01:22:15,121 --> 01:22:18,487 {\an1}MAN, AS HEMINGWAY: PARIS WAS A VERY OLD CITY AND WE WERE YOUNG 1360 01:22:18,521 --> 01:22:22,087 {\an1}AND NOTHING WAS SIMPLE THERE, NOT EVEN POVERTY, 1361 01:22:22,121 --> 01:22:26,754 {\an1}NOR SUDDEN MONEY, NOR THE MOONLIGHT, NOR RIGHT 1362 01:22:26,787 --> 01:22:29,854 {\an1}AND WRONG, NOR THE BREATHING OF SOMEONE WHO LAY BESIDE YOU 1363 01:22:29,887 --> 01:22:31,754 IN THE MOONLIGHT. 1364 01:22:34,187 --> 01:22:39,154 ♪ 1365 01:22:39,187 --> 01:22:42,821 {\an1}NARRATOR: IN THE SPRING OF 1959, THE HEMINGWAYS TRAVELED 1366 01:22:42,854 --> 01:22:46,821 {\an1}BACK TO HIS BELOVED SPAIN AND SETTLED INTO THE OPULENT 1367 01:22:46,854 --> 01:22:50,154 {\an1}HACIENDA OF A WEALTHY CELEBRITY-LOVING AMERICAN 1368 01:22:50,187 --> 01:22:52,921 {\an1}ON THE COSTA DEL SOL. 1369 01:22:52,954 --> 01:22:56,654 {\an1}THE TWO FINEST MATADORS IN SPAIN WERE TO COMPETE AGAINST 1370 01:22:56,687 --> 01:23:00,987 {\an1}ONE ANOTHER IN BULLRINGS ALL ACROSS THE COUNTRY. 1371 01:23:01,021 --> 01:23:05,221 {\an1}HEMINGWAY HOPED THEY WOULD PROVIDE MATERIAL FOR A REVISED 1372 01:23:05,254 --> 01:23:09,587 {\an1}EDITION OF "DEATH IN THE AFTERNOON," BUT WHEN THE 1373 01:23:09,621 --> 01:23:13,187 {\an1}EDITORS OF "LIFE" GOT WIND OF HIS TRIP, THEY ASKED HIM TO 1374 01:23:13,221 --> 01:23:15,687 {\an1}WRITE A STAND-ALONE PIECE. 1375 01:23:17,154 --> 01:23:20,287 [APPLAUSE] 1376 01:23:20,321 --> 01:23:26,421 {\an1}VALENCIA, GRANADA, BILBAO, 1377 01:23:26,454 --> 01:23:29,521 {\an1}LINARES, CORDOBA... 1378 01:23:29,554 --> 01:23:34,554 {\an1}THE BULLFIGHTS WENT ON AND ON, WITH HEMINGWAY AND A CAVALCADE 1379 01:23:34,587 --> 01:23:37,921 {\an1}OF HARD-DRINKING FRIENDS AND HANGERS-ON FOLLOWING 1380 01:23:37,954 --> 01:23:40,021 IN THEIR WAKE. 1381 01:23:40,054 --> 01:23:43,721 {\an1}EVERYWHERE HE WENT, THE AUTHOR OF "THE SUN ALSO RISES" 1382 01:23:43,754 --> 01:23:49,021 {\an1}WAS TREATED AS SOMETHING LIKE A PATRON SAINT, 1383 01:23:49,054 --> 01:23:52,421 {\an1}BUT THE FRENZIED SEASON EXHAUSTED HIM. 1384 01:23:52,454 --> 01:23:55,887 {\an1}AFTER THE BULLFIGHTS HAD ENDED, A FRIEND REMEMBERED, 1385 01:23:55,921 --> 01:23:59,187 HE SEEMED LIKE "AN OLD MAN, WORLD-WEARY, 1386 01:23:59,221 --> 01:24:02,587 {\an1}HIS EYES HALF-CLOSED." 1387 01:24:02,621 --> 01:24:05,487 {\an1}WHEN HE FINALLY GOT BACK TO CUBA AND TRIED TO WRITE 1388 01:24:05,521 --> 01:24:09,321 {\an1}ABOUT HIS EXPERIENCES, HIS OLD-TIME DISCIPLINE SEEMED 1389 01:24:09,354 --> 01:24:11,821 {\an1}TO HAVE DESERTED HIM. 1390 01:24:11,854 --> 01:24:14,887 "LIFE" HAD ASKED FOR 40,000 WORDS. 1391 01:24:14,921 --> 01:24:20,121 {\an1}HE PRODUCED 120,000 AND THEN HAD TO ASK A FRIEND 1392 01:24:20,154 --> 01:24:21,721 {\an1}TO DO THE CUTTING. 1393 01:24:23,054 --> 01:24:27,487 {\an1}ERNEST HEMINGWAY, WHO HAD ONCE BEEN HIS OWN MOST UNFORGIVING 1394 01:24:27,521 --> 01:24:32,154 {\an1}EDITOR, NO LONGER SEEMED ABLE TO SEPARATE WHAT MATTERED 1395 01:24:32,187 --> 01:24:35,387 {\an1}IN HIS WRITING FROM WHAT DID NOT. 1396 01:24:36,654 --> 01:24:40,187 {\an1}[NEWSREEL FANFARE] 1397 01:24:40,221 --> 01:24:43,387 {\an1}NEWSREEL NARRATOR: HAVANA, BEARING 26th OF JULY BANNERS, 1398 01:24:43,421 --> 01:24:46,487 {\an1}JOYOUS FOLLOWERS OF FIDEL CASTRO SWEEP TRIUMPHANTLY 1399 01:24:46,521 --> 01:24:49,354 {\an1}THROUGH THE CUBAN CAPITAL HOURS AFTER THEIR REBELLION 1400 01:24:49,387 --> 01:24:52,487 {\an1}HAD TOPPLED THE REGIME OF FULGENCIO BATISTA. 1401 01:24:52,521 --> 01:24:56,221 {\an1}NARRATOR: HEMINGWAY SYMPATHIZED WITH CASTRO'S REVOLUTION. 1402 01:24:56,254 --> 01:24:59,221 IT REMINDED HIM OF THE LOYALIST CAUSE HE HAD 1403 01:24:59,254 --> 01:25:01,087 {\an1}SUPPORTED IN SPAIN. 1404 01:25:01,121 --> 01:25:03,621 {\an1}NEWSREEL ANNOUNCER: THAT BROUGHT BATISTA TO POWER. 1405 01:25:03,654 --> 01:25:06,221 {\an1}NARRATOR: STILL, BEFORE LEAVING FOR SPAIN, 1406 01:25:06,254 --> 01:25:09,221 {\an1}HE AND MARY HAD BOUGHT A HOUSE IN KETCHUM, IDAHO, 1407 01:25:09,254 --> 01:25:13,921 {\an1}WHERE ERNEST HAD HUNTED AND FISHED FOR YEARS. 1408 01:25:13,954 --> 01:25:17,754 {\an1}IT WAS MEANT AS A FALL-BACK IN CASE IT BECAME DIFFICULT TO 1409 01:25:17,787 --> 01:25:21,254 RETURN TO CUBA. 1410 01:25:21,287 --> 01:25:25,221 {\an1}MAN, AS HEMINGWAY: I AM A GOOD AMERICAN AND HAVE BEEN TO BAT 1411 01:25:25,254 --> 01:25:28,087 {\an1}FOR MY COUNTRY AS OFTEN AS MOST, WITHOUT PAY 1412 01:25:28,121 --> 01:25:30,087 {\an1}AND WITHOUT AMBITION. 1413 01:25:30,121 --> 01:25:33,221 {\an1}BUT I BELIEVE COMPLETELY IN THE HISTORICAL NECESSITY 1414 01:25:33,254 --> 01:25:35,354 {\an1}OF THE CUBAN REVOLUTION. 1415 01:25:35,387 --> 01:25:40,721 {\an1}I DO NOT MIX IN CUBAN POLITICS. I KEEP MY MOUTH SHUT ABOUT IT 1416 01:25:40,754 --> 01:25:45,321 {\an1}AND HAVE NOT GIVEN AN INTERVIEW TO AN AMERICAN NEWSPAPER MAN. 1417 01:25:45,354 --> 01:25:47,321 THERE IS NOTHING I CAN SAY THAT 1418 01:25:47,354 --> 01:25:50,787 {\an1}WOULD NOT BE MISINTERPRETED OR TWISTED. 1419 01:25:52,721 --> 01:25:56,754 {\an1}NARRATOR: ONE EVENING IN JANUARY 1960, THE HEMINGWAYS 1420 01:25:56,787 --> 01:25:59,321 {\an1}DINED WITH FRIENDS IN KETCHUM. 1421 01:25:59,354 --> 01:26:02,487 {\an1}FROM THEIR DINING TABLE, HEMINGWAY SAW THAT THE LIGHTS 1422 01:26:02,521 --> 01:26:05,154 {\an1}IN THE BANK DOWNTOWN WERE ON. 1423 01:26:05,187 --> 01:26:07,321 {\an1}HE BECAME AGITATED. 1424 01:26:07,354 --> 01:26:09,921 {\an1}"THEY'RE CHECKING OUR ACCOUNTS," HE SAID. 1425 01:26:09,954 --> 01:26:13,621 {\an1}THEY TRIED TO REASSURE HIM IT WAS JUST THE CLEANING LADIES. 1426 01:26:13,654 --> 01:26:16,521 "NO," HE SAID. "THEY'RE TRYING TO CATCH US. 1427 01:26:16,554 --> 01:26:18,987 THEY WANT TO GET SOMETHING ON US." 1428 01:26:19,021 --> 01:26:21,787 {\an1}"WHO'S 'THEY?'" MARY ASKED. 1429 01:26:21,821 --> 01:26:24,754 {\an1}"THE FBI," HE REPLIED. 1430 01:26:24,787 --> 01:26:29,354 {\an1}MARY HAD NEVER SEEN HIM SO FEARFUL. 1431 01:26:29,387 --> 01:26:33,354 {\an1}DEARBORN: HE DEVELOPS DEPRESSION THAT'S SO EXTREME, 1432 01:26:33,387 --> 01:26:34,954 {\an1}I DON'T THINK IT'S SOMETHING 1433 01:26:34,987 --> 01:26:38,621 {\an1}THAT MOST PEOPLE SEE IN THEIR LIFETIME. 1434 01:26:38,654 --> 01:26:40,787 HIS FATHER HAD IT, TOO. 1435 01:26:40,821 --> 01:26:45,521 {\an1}AND I THINK IT'S A KIND OF PSYCHOTIC DEPRESSION. 1436 01:26:45,554 --> 01:26:48,854 {\an1}NARRATOR: HE BEGAN AGAIN TO SPEAK OF KILLING HIMSELF, 1437 01:26:48,887 --> 01:26:52,521 {\an1}BUT REFUSED TO GO TO A PSYCHIATRIC HOSPITAL. 1438 01:26:52,554 --> 01:26:56,954 {\an1}DEARBORN: HE WANTED IT HIDDEN. HE WOULDN'T GO TO ANY KIND 1439 01:26:56,987 --> 01:26:59,287 {\an1}OF PSYCHIATRIC PLACE, WHICH WOULD HAVE BEEN 1440 01:26:59,321 --> 01:27:00,821 A BETTER PLACE. 1441 01:27:00,854 --> 01:27:02,821 {\an1}HE WENT TO THE MAYO CLINIC. 1442 01:27:02,854 --> 01:27:05,087 {\an1}THE STORY WENT OUT THAT HE WAS THERE GETTING TREATED 1443 01:27:05,121 --> 01:27:06,887 {\an1}FOR HIGH BLOOD PRESSURE. 1444 01:27:06,921 --> 01:27:09,921 {\an1}WELL, HE MIGHT HAVE BELIEVED THAT, EVEN, YOU KNOW? 1445 01:27:09,954 --> 01:27:12,621 {\an1}TO SOME EXTENT, MARY MIGHT HAVE BELIEVED IT. 1446 01:27:12,654 --> 01:27:15,854 {\an1}BUT HE WAS BEING TREATED FOR MENTAL ILLNESS AND NOBODY WAS 1447 01:27:15,887 --> 01:27:17,787 ADMITTING IT. 1448 01:27:19,721 --> 01:27:22,621 {\an1}NARRATOR: HE REGISTERED UNDER AN ASSUMED NAME BECAUSE, 1449 01:27:22,654 --> 01:27:25,721 {\an1}HE SAID, HE DIDN'T WANT THE WORLD TO THINK "I WAS LOSING 1450 01:27:25,754 --> 01:27:28,121 MY MARBLES." 1451 01:27:28,154 --> 01:27:31,687 {\an1}BUT SOON, HE HAD A SIGN HUNG ON HIS DOOR SAYING, 1452 01:27:31,721 --> 01:27:35,954 "FORMER WRITER. DO NOT DISTURB." 1453 01:27:35,987 --> 01:27:37,887 {\an1}FARAH: IT'S GOT TO BE DISTRACTING TO HAVE 1454 01:27:37,921 --> 01:27:39,821 {\an1}THE CELEBRITY PATIENT. 1455 01:27:39,854 --> 01:27:42,821 {\an1}I THINK THAT'S WHY THE BOUNDARIES GOT BLURRED, WHY HE 1456 01:27:42,854 --> 01:27:44,887 {\an7}WAS ALLOWED TO DRINK WINE IN THE HOSPITAL AT MAYO, 1457 01:27:44,921 --> 01:27:47,987 {\an7}WHY HE WAS ALLOWED OVER TO THE HOMES OF THE DOCTORS 1458 01:27:48,021 --> 01:27:50,687 {\an1}FOR DINNER, OR TO GO SHOOTING WITH THE DOCTORS... 1459 01:27:50,721 --> 01:27:53,687 {\an1}THINGS THAT WOULD BE COMPLETELY OFF-LIMITS NOW 1460 01:27:53,721 --> 01:27:56,854 {\an1}AND A REAL VIOLATION OF BOUNDARIES. 1461 01:27:56,887 --> 01:27:59,954 {\an1}NARRATOR: HEMINGWAY'S DOCTORS REPEATEDLY ADMINISTERED THE 1462 01:27:59,987 --> 01:28:02,687 {\an1}STANDARD TREATMENT FOR SEVERE DEPRESSION... 1463 01:28:02,721 --> 01:28:06,721 {\an1}ELECTRO-SHOCK THERAPY, ECT. 1464 01:28:06,754 --> 01:28:08,754 {\an1}FARAH: YOU COULD SEE THE IMPULSE TO TREAT HIM 1465 01:28:08,787 --> 01:28:12,087 {\an1}WITH SHOCK THERAPY, WHICH IS A GREAT THERAPY IF ALL YOU HAVE 1466 01:28:12,121 --> 01:28:15,087 {\an1}IS MAJOR DEPRESSION WITH PSYCHOTIC FEATURES. 1467 01:28:15,121 --> 01:28:17,987 {\an1}CERTAINLY, HE HAD DEPRESSION. CERTAINLY, HE HAD PSYCHOSIS. 1468 01:28:18,021 --> 01:28:20,054 {\an1}BUT THEY WERE JUST MANIFESTATIONS 1469 01:28:20,087 --> 01:28:22,587 {\an1}OF A LARGER ILLNESS. 1470 01:28:22,621 --> 01:28:26,954 {\an1}NARRATOR: HEMINGWAY HAD ALSO SURVIVED SEVERAL CONCUSSIONS, 1471 01:28:26,987 --> 01:28:30,321 {\an1}WHICH MAY HAVE PERMANENTLY INJURED HIS BRAIN, ALTERING 1472 01:28:30,354 --> 01:28:34,087 {\an1}HIS PERSONALITY AND CORRUPTING HIS REASONING. 1473 01:28:34,121 --> 01:28:38,254 {\an1}HIS MIND WAS ALREADY MUDDLED BY DECADES OF DRINKING TOO MUCH 1474 01:28:38,287 --> 01:28:41,454 {\an1}AND BY A JUMBLE OF MEDICATIONS MEANT TO COMBAT 1475 01:28:41,487 --> 01:28:44,754 {\an1}ALL THE DAMAGE ALCOHOL HAD DONE TO BOTH HIS BODY 1476 01:28:44,787 --> 01:28:47,087 AND HIS MIND. 1477 01:28:47,121 --> 01:28:50,554 {\an1}HE HAD ENTERTAINED THOUGHTS OF SUICIDE SINCE AT LEAST HIS 1478 01:28:50,587 --> 01:28:55,221 {\an1}LATE TEENS, LONG BEFORE HIS FATHER TOOK HIS OWN LIFE. 1479 01:28:55,254 --> 01:28:58,821 {\an1}BUT HEMINGWAY COULD STILL SUMMON ENOUGH OF HIS OLD CHARM 1480 01:28:58,854 --> 01:29:02,787 {\an1}TO REASSURE HIS DOCTORS THAT AFTER JUST 6 WEEKS 1481 01:29:02,821 --> 01:29:07,621 {\an1}IN THE HOSPITAL HIS PARANOIA AND DELUSIONS HAD ABATED, 1482 01:29:07,654 --> 01:29:10,587 {\an1}THAT HIS DEPRESSION HAD LIFTED. 1483 01:29:11,921 --> 01:29:17,121 {\an1}IN JANUARY OF 1961, HE WAS RELEASED FROM THE HOSPITAL 1484 01:29:17,154 --> 01:29:20,421 {\an1}AND RETURNED TO KETCHUM. 1485 01:29:20,454 --> 01:29:23,854 {\an1}HE WENT TO HIS WRITING TABLE EACH MORNING, ORDERING 1486 01:29:23,887 --> 01:29:26,321 {\an1}AND REORDERING THE CHAPTERS THAT WOULD BECOME 1487 01:29:26,354 --> 01:29:28,254 {\an1}"A MOVEABLE FEAST." 1488 01:29:28,287 --> 01:29:31,787 {\an1}IN THE AFTERNOONS, HE WOULD TAKE A LONG WALK AND WAVE 1489 01:29:31,821 --> 01:29:35,954 {\an1}AT LOCAL CHILDREN ON THEIR WAY HOME FROM SCHOOL. 1490 01:29:35,987 --> 01:29:40,154 {\an1}BUT THE CLOUDS SOON CLOSED IN AGAIN. 1491 01:29:40,187 --> 01:29:43,821 {\an1}A COMMON SIDE-EFFECT OF ELECTROSHOCK THERAPY WAS LOSS 1492 01:29:43,854 --> 01:29:46,321 {\an1}OF SHORT-TERM MEMORY. 1493 01:29:46,354 --> 01:29:49,654 {\an1}THE DOCTORS HAD ASSURED HIM IT WAS ONLY TEMPORARY. 1494 01:29:49,687 --> 01:29:52,287 {\an1}HE DID NOT BELIEVE THEM. 1495 01:29:52,321 --> 01:29:55,121 {\an1}WRITING WAS WHAT HE WAS BORN TO DO, 1496 01:29:55,154 --> 01:29:58,187 {\an1}AND HE HAD HOPED ONE DAY TO DO MORE OF IT, 1497 01:29:58,221 --> 01:30:01,554 {\an1}BUT HE NO LONGER BELIEVED HE EVER WOULD. 1498 01:30:02,987 --> 01:30:04,797 {\an7}MAN, AS HEMINGWAY: WHEN HE FINALLY GAVE UP WRITING 1499 01:30:04,821 --> 01:30:07,554 {\an7}THAT DAY, IT WAS AFTERNOON. 1500 01:30:07,587 --> 01:30:10,654 {\an7}HE HAD STARTED A SENTENCE AS SOON AS HE HAD GONE INTO HIS 1501 01:30:10,687 --> 01:30:14,221 {\an7}WORKING ROOM AND HAD COMPLETED IT BUT HE COULD WRITE 1502 01:30:14,254 --> 01:30:16,654 {\an7}NOTHING AFTER IT. 1503 01:30:16,687 --> 01:30:21,387 {\an7}HE CROSSED IT OUT AND STARTED ANOTHER SENTENCE AND AGAIN 1504 01:30:21,421 --> 01:30:24,054 {\an7}CAME TO THE COMPLETE BLANKNESS. 1505 01:30:25,621 --> 01:30:28,487 {\an1}IT WAS IMPOSSIBLE FOR HIM TO PUT DOWN THE NEXT 1506 01:30:28,521 --> 01:30:30,587 {\an1}SENTENCE ON PAPER. 1507 01:30:30,621 --> 01:30:34,187 {\an1}AT THE END OF TWO HOURS IT WAS THE SAME. 1508 01:30:34,221 --> 01:30:37,187 {\an1}HE COULD NOT WRITE MORE THAN A SINGLE SENTENCE, 1509 01:30:37,221 --> 01:30:41,054 {\an1}AND THE SENTENCES THEMSELVES WERE INCREASINGLY SIMPLE 1510 01:30:41,087 --> 01:30:44,054 {\an1}AND COMPLETELY DULL. 1511 01:30:44,087 --> 01:30:48,154 {\an1}HE KEPT AT IT FOR 4 HOURS BEFORE HE KNEW THAT RESOLUTION 1512 01:30:48,187 --> 01:30:52,421 {\an1}AS POWERLESS AGAINST WHAT HAD HAPPENED. 1513 01:30:52,454 --> 01:30:58,254 {\an7}KARR: HE HAD BEEN SO GROUND DOWN THAT HE LACKED THAT... 1514 01:30:58,287 --> 01:31:02,421 {\an7}JUST THE STRENGTH, THE PSYCHIC STRENGTH. 1515 01:31:02,454 --> 01:31:07,087 {\an1}HE DESCRIBES IN THE BULLRING THE BULL'S JOURNEY OF KNOWLEDGE. 1516 01:31:07,121 --> 01:31:10,554 INITIALLY, THEY GO FOR THE CAPE. 1517 01:31:10,587 --> 01:31:13,287 {\an1}AND THEN, BY THE END OF THE BULLFIGHT, THEY'VE LOST 1518 01:31:13,321 --> 01:31:19,221 {\an1}SO MUCH BLOOD THEY CAN'T LIFT THEIR HEAD TO CHARGE. 1519 01:31:19,254 --> 01:31:22,787 {\an1}AND I WAS THINKING ABOUT HIM AS THIS TRAGIC FIGURE. 1520 01:31:22,821 --> 01:31:26,387 HE MUST HAVE FELT VERY CORNERED. 1521 01:31:26,421 --> 01:31:29,554 {\an1}NARRATOR: IN LATE FEBRUARY, HE WAS ASKED TO WRITE A LINE 1522 01:31:29,587 --> 01:31:33,621 {\an1}OR TWO OF TRIBUTE TO THE NEW PRESIDENT, JOHN F. KENNEDY. 1523 01:31:33,654 --> 01:31:37,287 {\an1}IT TOOK HIM A WEEK TO PRODUCE 4 LINES. 1524 01:31:37,321 --> 01:31:40,754 {\an1}WHEN HIS DOCTOR CAME TO TAKE HIS BLOOD PRESSURE, HE FOUND 1525 01:31:40,787 --> 01:31:44,354 HEMINGWAY WEEPING WITH FRUSTRATION. 1526 01:31:44,387 --> 01:31:47,621 {\an1}IN MARCH, HE TELEPHONED HIS FIRST WIFE, HADLEY. 1527 01:31:47,654 --> 01:31:51,721 {\an1}THEY HAD NOT SEEN ONE ANOTHER FOR 22 YEARS. 1528 01:31:51,754 --> 01:31:54,021 THERE WAS NOTHING DISTURBING IN WHAT HE SAID, 1529 01:31:54,054 --> 01:31:55,854 SHE REMEMBERED. 1530 01:31:55,887 --> 01:31:58,087 {\an1}HE ASKED IF SHE COULD REMEMBER THE NAME OF SOMEONE 1531 01:31:58,121 --> 01:32:01,921 {\an1}THEY'D KNOWN IN PARIS AND SHE COULDN'T RECALL IT. 1532 01:32:01,954 --> 01:32:05,587 {\an1}BUT HIS VOICE SEEMED SO SAD, SO WEARY, 1533 01:32:05,621 --> 01:32:09,821 {\an1}THAT WHEN THEY HUNG UP, SHE FOUND HERSELF IN TEARS. 1534 01:32:11,021 --> 01:32:12,954 [GUNFIRE] 1535 01:32:12,987 --> 01:32:18,454 {\an1}IN APRIL OF 1961, THE CIA SPONSORED AN INVASION OF CUBA 1536 01:32:18,487 --> 01:32:21,554 {\an1}AT THE BAY OF PIGS, IN AN ATTEMPT TO OVERTHROW 1537 01:32:21,587 --> 01:32:25,287 {\an1}THE REVOLUTIONARY GOVERNMENT OF FIDEL CASTRO. 1538 01:32:25,321 --> 01:32:29,087 {\an1}IT FAILED, ENDING ANY POSSIBILITY OF NORMAL 1539 01:32:29,121 --> 01:32:33,354 {\an1}RELATIONS BETWEEN THE UNITED STATES AND CUBA. 1540 01:32:33,387 --> 01:32:37,687 {\an1}THE BAY OF PIGS IS REALLY THE COUP DE GRACE, ISN'T IT? 1541 01:32:37,721 --> 01:32:41,754 {\an1}THERE IS NOW NO ILLUSION, IF THERE WAS ANY IN THE BEGINNING, 1542 01:32:41,787 --> 01:32:45,587 {\an1}ABOUT "MAYBE THIS WILL BLOW OVER AND I CAN GET BACK THERE." 1543 01:32:45,621 --> 01:32:47,154 THAT'S NOW DONE. 1544 01:32:47,187 --> 01:32:48,687 THAT'S NOW DONE. 1545 01:32:50,021 --> 01:32:52,121 JOHN F. KENNEDY: IT IS CLEAR THAT THE FORCES 1546 01:32:52,154 --> 01:32:55,687 {\an1}OF COMMUNISM ARE NOT TO BE UNDERESTIMATED IN CUBA. 1547 01:32:55,721 --> 01:32:58,487 {\an1}BEEGEL: HE HAD LOST HIS HOME, 1548 01:32:58,521 --> 01:33:01,021 {\an1}HE HAD LOST EVERYTHING IN THAT HOME... 1549 01:33:01,054 --> 01:33:04,354 {\an1}KENNEDY: WILL NOT ACCEPT MR. CASTRO'S ATTEMPTS TO BLAME THIS NATION... 1550 01:33:04,387 --> 01:33:07,087 {\an1}BEEGEL: HE LOST HIS BOOKS... 1551 01:33:07,121 --> 01:33:09,854 HE LOST HIS ART, 1552 01:33:09,887 --> 01:33:12,321 HE LOST HIS PETS, 1553 01:33:12,354 --> 01:33:14,254 HE LOST HIS COMMUNITY... 1554 01:33:14,287 --> 01:33:15,563 {\an1}KENNEDY: LESSON FOR US ALL... 1555 01:33:15,587 --> 01:33:17,321 BEEGEL: HE LOST HIS BOAT "PILAR," 1556 01:33:17,354 --> 01:33:20,721 {\an1}HE LOST THE LIFESTYLE WHERE HE COULD GO FISHING. 1557 01:33:20,754 --> 01:33:23,487 {\an7}HE LOST EVERYTHING THAT HE HAD, 1558 01:33:23,521 --> 01:33:27,721 {\an7}AND HE KNEW IN THAT MOMENT THAT HE COULD NOT GO BACK, 1559 01:33:27,754 --> 01:33:31,321 {\an1}THAT THAT WAS DONE. 1560 01:33:31,354 --> 01:33:36,621 {\an1}AND HE WAS MAROONED IN THIS VERY SPARE LITTLE BLOCK HOUSE IN IDAHO. 1561 01:33:38,254 --> 01:33:41,621 {\an1}NARRATOR: ON APRIL 21st, MARY FOUND ERNEST 1562 01:33:41,654 --> 01:33:45,854 {\an1}IN THE VESTIBULE HOLDING A SHOTGUN. 1563 01:33:45,887 --> 01:33:50,187 {\an1}TWO SHELLS WERE WITHIN REACH ON THE WINDOW-SILL. 1564 01:33:50,221 --> 01:33:53,954 {\an1}SHE MANAGED TO TALK HIM DOWN, TELLING HIM HOW MUCH HE MEANT 1565 01:33:53,987 --> 01:33:57,854 {\an1}TO HER AND HIS BOYS, HOW BRAVE HE'D BEEN DURING THE WAR, 1566 01:33:57,887 --> 01:34:01,754 {\an1}HOW MUCH THEY BOTH WANTED TO GO BACK AGAIN TO AFRICA. 1567 01:34:01,787 --> 01:34:05,121 {\an1}SHE INSISTED HE RETURN TO THE MAYO CLINIC. 1568 01:34:05,154 --> 01:34:08,387 {\an1}WHEN THE PRIVATE PLANE SHE HAD ARRANGED TO TAKE HIM THERE 1569 01:34:08,421 --> 01:34:12,421 {\an1}STOPPED TO REFUEL IN RAPID CITY, HE TRIED TO WALK INTO 1570 01:34:12,454 --> 01:34:15,187 {\an1}A SPINNING PROPELLER. 1571 01:34:15,221 --> 01:34:20,454 {\an1}THIS TIME, HE WAS GIVEN A ROOM IN THE LOCKED WARD. 1572 01:34:20,487 --> 01:34:24,754 {\an1}HE UNDERWENT A SECOND SERIES OF ELECTRO-SHOCK TREATMENTS. 1573 01:34:24,787 --> 01:34:28,287 HIS MEMORY DETERIORATED FURTHER. 1574 01:34:29,587 --> 01:34:31,887 {\an1}A.E. HOTCHNER: ONE OF THE LAST CONVERSATIONS THAT I HAD 1575 01:34:31,921 --> 01:34:36,554 {\an7}WITH ERNEST, I HAD A RENTED CHEVY AND GOT PERMISSION THAT 1576 01:34:36,587 --> 01:34:38,654 {\an7}HE COULD LEAVE THE HOSPITAL. 1577 01:34:38,687 --> 01:34:41,721 {\an7}AND WE DROVE TO A LITTLE PLACE THAT WAS A SORT OF A LITTLE 1578 01:34:41,754 --> 01:34:43,554 PARK-LIKE PLACE. 1579 01:34:43,587 --> 01:34:46,121 {\an1}HE GOT OUT SO THERE WAS NO QUESTION THAT THERE WAS 1580 01:34:46,154 --> 01:34:47,787 ANYTHING BUGGED. 1581 01:34:50,587 --> 01:34:54,221 {\an1}AND I WAS TRYING TO... TO BE POSITIVE. 1582 01:34:54,254 --> 01:34:58,754 {\an1}AND I SAID, "LISTEN, SOON AS YOU FINISH UP HERE, WHY DON'T WE 1583 01:34:58,787 --> 01:35:01,287 {\an1}GO FISH DOWN THERE?" 1584 01:35:01,321 --> 01:35:02,854 {\an1}AND HE TURNED ON ME. 1585 01:35:02,887 --> 01:35:06,121 {\an1}HE SAID, "YOU DON'T SEEM TO UNDERSTAND." 1586 01:35:06,154 --> 01:35:11,354 {\an1}HE SAID, "WHAT HAVE I GOT TO BE HANGING AROUND FOR?" 1587 01:35:11,387 --> 01:35:13,521 {\an1}[TELEPHONE RINGS] NARRATOR: IN LATE JUNE, 1588 01:35:13,554 --> 01:35:16,954 {\an1}MARY GOT A PHONE CALL FROM THE MAYO CLINIC. 1589 01:35:16,987 --> 01:35:19,787 {\an1}THE DOCTOR TOLD HER HE HAD GOOD NEWS. 1590 01:35:19,821 --> 01:35:22,787 {\an1}ERNEST WAS READY TO GO HOME. 1591 01:35:22,821 --> 01:35:25,821 {\an1}WHEN SHE ARRIVED, HER HUSBAND WAS ALREADY DRESSED 1592 01:35:25,854 --> 01:35:28,054 {\an1}IN HIS STREET CLOTHES, SHE REMEMBERED, 1593 01:35:28,087 --> 01:35:31,087 "GRINNING LIKE A CHESHIRE CAT." 1594 01:35:31,121 --> 01:35:33,154 {\an1}MARY WAS NOT CONVINCED, 1595 01:35:33,187 --> 01:35:35,521 BUT SHE DID NOT PUT UP A FIGHT. 1596 01:35:35,554 --> 01:35:40,421 {\an1}AN OLD FRIEND DROVE THEM BACK TO KETCHUM. 1597 01:35:40,454 --> 01:35:45,287 {\an1}HEMINGWAY'S PARANOIA QUICKLY MANIFESTED ITSELF AGAIN. 1598 01:35:45,321 --> 01:35:49,354 {\an1}ON SATURDAY EVENING, JULY 1st, THE HEMINGWAYS AND A FRIEND 1599 01:35:49,387 --> 01:35:51,487 {\an1}DROVE INTO TOWN FOR DINNER. 1600 01:35:51,521 --> 01:35:55,154 {\an1}ERNEST WAS SURE TWO STRANGERS SITTING AT THE BAR WERE 1601 01:35:55,187 --> 01:35:56,821 FEDERAL AGENTS. 1602 01:35:56,854 --> 01:35:59,254 MARY COULDN'T CONVINCE HIM OTHERWISE. 1603 01:36:00,954 --> 01:36:03,921 {\an1}BUT WHEN HE WENT TO HIS BEDROOM THAT EVENING 1604 01:36:03,954 --> 01:36:07,421 {\an1}AND CALLED OUT TO HER, "GOOD NIGHT, MY KITTEN," 1605 01:36:07,454 --> 01:36:09,754 {\an1}"HIS VOICE WAS WARM AND FRIENDLY," 1606 01:36:09,787 --> 01:36:11,687 SHE REMEMBERED. 1607 01:36:11,721 --> 01:36:15,154 {\an1}MARY HAD LEFT THE KEYS TO THE BASEMENT CABINET WHERE HIS 1608 01:36:15,187 --> 01:36:18,987 {\an1}GUNS WERE KEPT OUT IN THE OPEN IN THE KITCHEN, JUST AS 1609 01:36:19,021 --> 01:36:21,021 {\an1}THEY HAD ALWAYS BEEN. 1610 01:36:21,054 --> 01:36:24,154 {\an1}SHE CONSIDERED HIDING THEM, SHE LATER RECALLED, 1611 01:36:24,187 --> 01:36:27,587 {\an1}BUT "DECIDED THAT NO ONE HAD A RIGHT TO DENY A MAN 1612 01:36:27,621 --> 01:36:29,321 HIS POSSESSIONS." 1613 01:36:31,421 --> 01:36:37,554 {\an1}AT ABOUT 7:00 THE NEXT MORNING, SUNDAY, JULY 2, 1961, 1614 01:36:37,587 --> 01:36:42,454 MARY WAS AWAKENED BY A LOUD BANG. 1615 01:36:42,487 --> 01:36:46,521 {\an1}HEMINGWAY, STILL WEARING HIS BATHROBE AND SLIPPERS, 1616 01:36:46,554 --> 01:36:50,287 {\an1}HAD SLIPPED DOWN TO THE BASEMENT, RETRIEVED A SHOTGUN 1617 01:36:50,321 --> 01:36:54,721 {\an1}AND TWO SHELLS, AND CLIMBED BACK UP TO THE VESTIBULE. 1618 01:36:54,754 --> 01:36:58,354 {\an1}THERE, HE HAD BENT OVER, PLACED THE TWIN BARRELS 1619 01:36:58,387 --> 01:37:03,254 {\an1}AGAINST HIS FOREHEAD AND PULLED THE TRIGGER. 1620 01:37:03,287 --> 01:37:06,487 {\an1}HE WAS 61 YEARS OLD. 1621 01:37:08,387 --> 01:37:09,921 {\an1}EDWIN NEWMAN: GOOD EVENING. 1622 01:37:09,954 --> 01:37:13,087 {\an1}THE NOVELIST ERNEST HEMINGWAY IS DEAD. 1623 01:37:13,121 --> 01:37:16,121 {\an1}THE REPORTS FROM HIS HOME IN KETCHUM, IDAHO ARE SPARSE 1624 01:37:16,154 --> 01:37:18,821 {\an1}AND NOT VERY CLEAR, BUT WE KNOW THAT HE KILLED HIMSELF, 1625 01:37:18,854 --> 01:37:22,487 {\an1}THE SHERIFF SAYS ACCIDENTALLY, WITH A 12-GAUGE SHOTGUN. 1626 01:37:22,521 --> 01:37:26,021 {\an1}HEMINGWAY ONLY LAST WEEK WAS DISCHARGED FROM THE MAYO CLINIC 1627 01:37:26,054 --> 01:37:28,287 {\an1}IN ROCHESTER, MINNESOTA, WHERE HE HAD BEEN TREATED 1628 01:37:28,321 --> 01:37:30,254 {\an1}FOR HIGH BLOOD PRESSURE. 1629 01:37:30,287 --> 01:37:32,921 {\an1}THIS MORNING, THE NOBEL PRIZE-WINNING NOVELIST WAS ALONE 1630 01:37:32,954 --> 01:37:35,387 {\an1}IN HIS ROOM, PREPARING TO GO HUNTING, WHEN THE FATAL 1631 01:37:35,421 --> 01:37:37,121 {\an1}ACCIDENT OCCURRED. 1632 01:37:38,421 --> 01:37:41,621 {\an1}HE WAS A LITERARY MAN WHO PROBABLY HAD MORE INFLUENCE 1633 01:37:41,654 --> 01:37:44,421 {\an1}ON THE STYLE OF THE WRITING OF NOVELS THAN ANY OTHER WRITER 1634 01:37:44,454 --> 01:37:46,287 {\an1}IN THE 20th CENTURY. 1635 01:37:46,321 --> 01:37:49,587 {\an1}THAT WAS PARTLY BECAUSE OF THE WAY HE WROTE, THE TERSE, 1636 01:37:49,621 --> 01:37:54,254 {\an1}OFTEN FLAT AND SARDONIC STYLE, ALMOST PAINFULLY MASCULINE. 1637 01:37:54,287 --> 01:37:57,654 {\an1}HE WAS LESS AN INDIVIDUAL THAN A CHARACTER, LESS A PERSON 1638 01:37:57,687 --> 01:37:59,454 {\an1}THAN AN INSTITUTION. 1639 01:37:59,487 --> 01:38:02,054 {\an1}HE WORSHIPPED VIRILITY AND A SMALL RELIGION GREW UP 1640 01:38:02,087 --> 01:38:03,887 ABOUT HIM. 1641 01:38:03,921 --> 01:38:07,454 {\an1}HEMINGWAY'S PLACE IN LITERATURE, I THINK CANNOT NOW BE FIXED. 1642 01:38:07,487 --> 01:38:10,187 {\an1}WE DON'T KNOW WHICH OF HIS BOOKS WILL LIVE. 1643 01:38:10,221 --> 01:38:13,554 {\an1}WE SUSPECT THAT "A FAREWELL TO ARMS," THE TENDEREST AND MOST 1644 01:38:13,587 --> 01:38:15,321 {\an1}MOVING OF THEM WILL LIVE. 1645 01:38:15,354 --> 01:38:18,021 {\an1}WE BELIEVE THAT SOME OF HIS SHORT STORIES WILL, 1646 01:38:18,054 --> 01:38:20,621 PARTICULARLY "THE SNOWS OF KILIMANJARO" 1647 01:38:20,654 --> 01:38:24,787 {\an1}AND "THE SHORT HAPPY LIFE OF FRANCIS MACOMBER." 1648 01:38:24,821 --> 01:38:28,221 {\an1}HE WAS, NEVERTHELESS, AN INTENSELY AMERICAN WRITER. 1649 01:38:28,254 --> 01:38:31,487 {\an1}HIS OWN CONTRIBUTION WAS VERY LARGE, AND NOT ONLY TO 1650 01:38:31,521 --> 01:38:34,354 {\an1}AMERICAN LETTERS, BUT TO THE EXCITEMENT AND COLOR 1651 01:38:34,387 --> 01:38:36,854 {\an1}OF THE LAST 4 DECADES. 1652 01:38:36,887 --> 01:38:40,321 EDWIN NEWMAN. GOOD EVENING. 1653 01:38:40,354 --> 01:38:43,587 {\an1}McCAIN: I WAS PAINED AND GRIEVED, 1654 01:38:43,621 --> 01:38:48,521 {\an1}BUT, YOU KNOW, I THINK THERE ARE TIMES WHEN... 1655 01:38:48,554 --> 01:38:50,887 {\an7}I DON'T AGREE WITH IT... BUT IT'S UNDERSTANDABLE 1656 01:38:50,921 --> 01:38:52,187 {\an8}WHY HE DECIDED 1657 01:38:52,221 --> 01:38:54,254 {\an7}TO END HIS LIFE WHEN HE HAD... 1658 01:38:54,287 --> 01:38:56,721 {\an7}HIS TALENT HAD LEFT HIM. 1659 01:38:56,754 --> 01:39:00,454 {\an1}WE SOMETIMES TALK ABOUT PEOPLE AND WE IDOLIZE THEM AND WE 1660 01:39:00,487 --> 01:39:03,321 {\an1}GIVE THEM EVERY VIRTUE AND NO VICE. 1661 01:39:03,354 --> 01:39:06,054 {\an1}HE HAD LOTS OF VICES. HE HAD LOTS OF VICES. 1662 01:39:06,087 --> 01:39:08,821 {\an1}HE WAS A HUMAN BEING. 1663 01:39:08,854 --> 01:39:13,387 {\an1}AND THAT, MY FRIEND, ERASES A WHOLE LOT OF OTHER 1664 01:39:13,421 --> 01:39:16,654 WHAT MAY BE FAILINGS IN LIFE. 1665 01:39:19,687 --> 01:39:24,421 {\an1}KATAKIS: HE KEEPS SPEAKING TO US BECAUSE HIS WRITING WAS 1666 01:39:24,454 --> 01:39:30,287 {\an1}BASICALLY HUMAN WITH ALL THAT WE ARE... 1667 01:39:30,321 --> 01:39:34,221 {\an1}THE DARK, THE LIGHT, THE PASSIONATE, THE PETTY, 1668 01:39:34,254 --> 01:39:40,687 {\an1}THE UGLY, THE BEAUTIFUL, THE KIND, THE CRUEL. 1669 01:39:40,721 --> 01:39:45,354 {\an1}I... I... JUST... HE JUST WAS WRITING ABOUT HUMAN BEHAVIOR 1670 01:39:45,387 --> 01:39:47,221 AND HUMAN BEINGS. 1671 01:39:47,254 --> 01:39:52,687 {\an1}AND I THINK HE WAS ABLE TO DO IT BECAUSE HE SO LOVED THE WORLD. 1672 01:39:52,721 --> 01:39:54,454 "WHAT A SHAME IT'S GOING TO BE 1673 01:39:54,487 --> 01:39:58,454 {\an1}TO HAVE TO LEAVE IT," HE SAID. 1674 01:39:58,487 --> 01:40:00,087 {\an1}EDNA O'BRIEN: HE HAS IMMORTALITY, 1675 01:40:00,121 --> 01:40:03,354 {\an1}AND HE DESERVES IT. 1676 01:40:03,387 --> 01:40:07,787 {\an1}NOT MANY WRITERS GET THAT, AND HE DESERVES IT. 1677 01:40:09,454 --> 01:40:12,521 {\an1}MAN, AS HEMINGWAY: AND THEN INSTEAD OF GOING ON TO ARUSHA, 1678 01:40:12,554 --> 01:40:14,421 THEY TURNED LEFT. 1679 01:40:14,454 --> 01:40:17,854 {\an1}HE EVIDENTLY FIGURED THAT THEY HAD THE GAS. 1680 01:40:17,887 --> 01:40:21,354 {\an1}AND LOOKING DOWN, HE SAW A PINK SIFTING CLOUD MOVING OVER 1681 01:40:21,387 --> 01:40:24,687 {\an1}THE GROUND, AND IN THE AIR, LIKE THE FIRST SNOW 1682 01:40:24,721 --> 01:40:27,954 {\an1}IN A BLIZZARD, THAT COMES FROM NOWHERE, AND HE KNEW 1683 01:40:27,987 --> 01:40:30,721 {\an1}THE LOCUSTS WERE COMING UP FROM THE SOUTH. 1684 01:40:30,754 --> 01:40:32,521 {\an1}THEN THEY BEGAN TO CLIMB, 1685 01:40:32,554 --> 01:40:35,187 {\an1}AND THEY WERE GOING TO THE EAST, IT SEEMED, 1686 01:40:35,221 --> 01:40:38,354 {\an1}AND THEN IT DARKENED AND THEY WERE IN A STORM, 1687 01:40:38,387 --> 01:40:41,721 {\an1}THE RAIN SO THICK IT SEEMED LIKE FLYING THROUGH A WATERFALL. 1688 01:40:41,754 --> 01:40:43,487 [THUNDER] 1689 01:40:43,521 --> 01:40:45,954 {\an1}AND THEN THEY WERE OUT AND COMPIE TURNED HIS HEAD 1690 01:40:45,987 --> 01:40:51,454 {\an1}AND GRINNED AND POINTED AND THERE AHEAD, ALL HE COULD SEE, 1691 01:40:51,487 --> 01:40:56,887 {\an1}AS WIDE AS ALL THE WORLD, GREAT, HIGH, AND UNBELIEVABLY 1692 01:40:56,921 --> 01:41:03,121 {\an1}WHITE IN THE SUN, WAS THE SQUARE TOP OF KILIMANJARO. 1693 01:41:03,154 --> 01:41:08,521 {\an1}AND THEN HE KNEW THAT THERE WAS WHERE HE WAS GOING. 1694 01:41:08,554 --> 01:41:10,621 ERNEST HEMINGWAY. 1695 01:41:10,654 --> 01:41:12,287 [WIND BLOWING] 1696 01:41:14,921 --> 01:41:18,121 ♪ 1697 01:41:30,387 --> 01:41:33,354 ♪ 1698 01:41:44,121 --> 01:41:47,387 ♪ 1699 01:42:06,621 --> 01:42:10,421 ♪ 1700 01:42:20,054 --> 01:42:21,787 {\an4}VO: Stay tuned for a special preview 1701 01:42:21,821 --> 01:42:23,954 {\an4}of the next film from Ken Burns: MUHAMMAD ALI. 1702 01:42:25,321 --> 01:42:27,154 {\an7}ANNOUNCER: DIVE DEEPER INTO THIS FILM 1703 01:42:27,187 --> 01:42:29,287 {\an7}BY VISITING PBS.ORG/HEMINGWAY 1704 01:42:29,321 --> 01:42:31,421 {\an7}AND THE PBS VIDEO APP. 1705 01:42:31,454 --> 01:42:35,554 {\an7}JOIN THE CONVERSATION WITH HASHTAG #HEMINGWAYPBS. 1706 01:42:35,587 --> 01:42:38,554 {\an7}TO ORDER "HEMINGWAY" ON DVD OR BLU-RAY 1707 01:42:38,587 --> 01:42:40,587 {\an8}OR THE BOOK "THE HEMINGWAY STORIES," 1708 01:42:40,621 --> 01:42:44,987 {\an7}VISIT SHOP PBS OR CALL 1-800-PLAY-PBS. 1709 01:42:45,021 --> 01:42:47,221 {\an7}THE CD IS ALSO AVAILABLE. 1710 01:42:47,254 --> 01:42:50,721 {\an7}"HEMINGWAY" IS ALSO AVAILABLE WITH PBS PASSPORT 1711 01:42:50,754 --> 01:42:54,154 {\an7}AND ON AMAZON PRIME VIDEO. 1712 01:42:58,087 --> 01:43:02,254 ♪ 1713 01:43:23,621 --> 01:43:27,087 ♪ 1714 01:43:54,954 --> 01:43:57,054 ♪ 1715 01:43:58,887 --> 01:44:00,587 {\an7}ANNOUNCER: MAJOR FUNDING FOR "HEMINGWAY" 1716 01:44:00,621 --> 01:44:03,287 {\an8}WAS PROVIDED BY THE BETTER ANGELS SOCIETY 1717 01:44:03,321 --> 01:44:05,054 {\an1}AND BY ITS MEMBERS: 1718 01:44:05,087 --> 01:44:07,521 {\an1}THE ELIZABETH RUTH WALLACE LIVING TRUST, 1719 01:44:07,554 --> 01:44:09,454 {\an1}JOHN AND LESLIE McQUOWN, 1720 01:44:09,487 --> 01:44:11,154 {\an1}JOHN AND CATHERINE DEBS, 1721 01:44:11,187 --> 01:44:13,887 {\an1}THE FULLERTON FAMILY CHARITABLE TRUST, 1722 01:44:13,921 --> 01:44:16,887 {\an1}KISSICK FAMILY FOUNDATION, GAIL ELDEN, 1723 01:44:16,921 --> 01:44:18,487 {\an1}GILCHRIST AND AMY BERG, 1724 01:44:18,521 --> 01:44:20,087 {\an1}ROBERT AND BEVERLY GRAPPONE, 1725 01:44:20,121 --> 01:44:22,554 {\an1}AND MAUREE JANE AND MARK PERRY. 1726 01:44:22,587 --> 01:44:26,954 {\an1}ADDITIONAL FUNDING WAS PROVIDED BY THE ANNENBERG FOUNDATION, 1727 01:44:26,987 --> 01:44:29,521 {\an1}THE ARTHUR VINING DAVIS FOUNDATIONS, 1728 01:44:29,554 --> 01:44:32,054 THE CORPORATION FOR PUBLIC BROADCASTING, 1729 01:44:32,087 --> 01:44:35,321 {\an1}AND BY CONTRIBUTIONS TO YOUR PBS STATION 1730 01:44:35,354 --> 01:44:37,387 {\an1}FROM VIEWERS LIKE YOU. 1731 01:44:37,421 --> 01:44:39,954 THANK YOU.