Screenwriters From The United States

"I think What Dreams May Come is the most important (read effective) book I’ve written. It has caused a number of readers to lose their fear of death — the finest tribute any writer could receive. ... Somewhere In Time is my favorite novel."

"You never know, he thought. You just never know. You drift along, year after year, presuming certain values to be fixed; like being able to drive on a public thoroughfare without somebody trying to murder you. You came to depend on that sort of thing. Then something occurs and all bets are off. One shocking incident and all the years of logic and acceptance are displaced and, suddenly, the jungle is in front of you again. Man, part animal, part angel. Where had he come across that phrase? He shivered. It was entirely an animal in that truck out there."

"Somewhere In Time is the story of a love which transcends time, What Dreams May Come is the story of a love which transcends death. ... I feel that they represent the best writing I have done in the novel form."

"X — This day when it had light mother called me a retch. You retch she said. I saw in her eyes the anger. I wonder what it is a retch."

"It is my conviction that basic Reality is not all that perplexing. What seems difficult to assimilate are the manifold details of Reality, not its fundamental elements."

"It is a secret but I have pulled the chain out of the wall. I can see out the little window all I like."

"I thought what father said. Oh god he said. And only eight."

"A man could change, if only to survive."

"You ain't gonna live forever, so enjoy it while you can."

"Then it happened. One night as the rain beat on the slanted kitchen roof a great spirit slipped forever into my life. I held his books in my hands and trembled as he spoke to me of man and the world, of love and wisdom, pain and guilt, and I knew I would never be the same. His name was Fyodor Mikhailovich Dostoyevsky. He knew more of fathers and sons than any man in the world, of brothers and sisters, priests and rogues, guilt and innocence. Dostoyevsky changed me. The Idiot, The Possessed, The Brothers Karamazov, The Gambler. He turned me inside out. I found I could breathe, could see invisible horizons. It was time to become a man, to leave San Elmo and go out into the world. I wanted to think and feel like Dostoyevsky. I wanted to write."

"I lay on my back and thought of the future. Any hopes for writing would have to be postponed. What mattered now was just staying alive. From that day forward I resolved never to be poor again. I would work hard for Coletti and the Toyo Fish Company. I would hoard every penny. I would jingle coins in my pocket and store away dollars in the bank. I would cover my body, my life, with money. I would be impregnable. I would not be hurt again."

"The greying east brightened, metamorphosed to pink, then red, and then the giant ball of fire rose out of the blackened hills. Across the desolation lay a supreme indifference, the casualness of night and another day, and yet the secret intimacy of those hills, their silent consoling wonder, made death a thing of no great importance. You could die, but the desert would hide the secret of your death, it would remain after you, to cover your memory with ageless wind and heat and cold."

"Far out across the Mojave there arose the shimmer of heat. I made my way up the path to the Ford. In the seat was a copy of my book, my first book. I found a pencil, opened the book to the fly leaf, and wrote: To Camilla, with love, Arturo I carried the book a hundred yards into the desolation, toward the southeast. With all my might I threw it far out in the direction she had gone. Then I got into the car, started the engine, and drove back to Los Angeles."

"I stretched out on the bed and slept. It was twilight when I awakened and turned on the light. I felt better, no longer tired. I went to the typewriter and sat before it. My thought was to write a sentence, a single perfect sentence. If I could write one good sentence I could write two and if I could write two I could write three, and if I could write three I could write forever. [...] I sat erect before the typewriter and blew on my fingers. Please God, please Knut Hamsun, don't desert me now. I started to write."

"I went for a walk through the streets. My God, here I was again, roaming the town. I looked at the faces around me, and I knew mine was like theirs. Faces with the blood drained away, tight faces, worried, lost. Faces like flowers torn from their roots and stuffed into a pretty vase, the colors draining fast. I had to get away from that town."

"All at once I was full of plans. Laguna Beach! That was the place for her. It was winter now, and we could get a place cheap. I could take care of her and get started on another book. I had an idea for a new book. We didn't have to be married, brother and sister was alright with me."

"Willie was sound asleep in her lap, but he sucked her little finger. South of Long Beach we stopped at a drugstore and bought a bottle with a nipple, and a bottle of milk. Willie's eyes opened when she put the nipple to his mouth. He fell to his task like a fiend. Camilla lifted her arms high, ran her fingers through her hair, and yawned with pleasure."

"Nobody crossed him without a battle. He disliked almost everything, particularly his wife, his children, his neighbors, his church, his priest, his town, his state, his country, and the country from which he emigrated. Nor did he give a damn for the world either, or the sun or the stars, or the universe, or heaven or hell. But he liked women."

"That night I slept there, but the next morning I began to hate the place. With her there it was part of a dream; without her, it was a house. I packed my things into the rumble seat and drove back to Los Angeles."

"I tried the door. It opened, darkness inside, and I switched on the light. She lay there in the Murphy bed. Her face was the face of an old rose pressed and dried in a book, yellowish, with only the eyes to prove there was life in it. The room stank. The blinds were down, the door opened with difficulty until I kicked away the rug against the crack."

"I prowled the city with my Ford: I found mysterious alleys, lonely trees, rotting old houses out of a vanished past. Day and night I lived in my Ford, pausing only long enough to order a hamburger and a cup of coffee at strange roadside cafes."

"She rose and looked at me with delirious black eyes, black and wanton and in a dream, her neck stretched and defining the bulging cords at her throat. she had nothing to say with her lips, but the ghastly cast of her face, the teeth too white and too big now, the frightened smile, these spoke too loudly of the horror shrouding her days and nights...As I walked toward the bed, she pulled up her knees, slipping into a crouched frightened position, as though she expected me to strike her."

"I opened the door, and there he stood, a telegraph boy. I signed for the telegram, sat on the bed, and wondered if the wine had finally got the Old Man's heart. The telegram said: your book accepted mailing contract today. Hackmuth. That was all. I let the paper float to the carpet. I just sat there. Then I got down on the floor and began kissing the telegram. I crawled under the bed and just lay there. I did not need the sunshine anymore. Nor the earth, nor heaven. I just lay there, happy to die. Nothing else could happen to me. My life was over."

"I didn't ask any questions. Everything I wanted to know was written in tortured phrases across the desolation of her face. It didn't look like insanity to me. It looked like fear, the terrible fear screaming from her big hungered eyes, alert now from the drug."

"When it was all gone, the dream of floating toward bursting stars, and the flesh returned to hold my blood in its prosaic channels, when the room returned, the dirty sordid room, the vacant meaningless ceiling, the weary wasted world, I felt nothing but the old sense of guilt, the sense of crime and violation, the sin of destruction."

"I had come to the limits of shooting pool, playing poker and bullshitting over beers, of driving off with other guys and broads into lonely orchards, clawing clumsily at skirts and panties, clawing in vain. Women were fine but demanding, you hurt easily at nineteen; you thought women were sweet and submissive but find them alley cats; you find comfort in whores less deceitful, and if you are lucky you learn to read."

"Camilla cooked breakfast for us, and we ate from plates on our laps. The fare was fried corn meal and bacon and eggs. Sammy ate with the peculiar robustness of unhealthy people. After the meal, Camilla gathered the tin plates and washed them. Then she had her own breakfast, seated in a far corner, quiet except for the sound of her fork against the tin plate."

"We drove into the Los Angeles Black Belt, Central Avenue, night clubs, abandoned apartment houses, broken-down business houses, the forlorn street of poverty for the Negro and swank for the whites."

"Far away like frightened birds, the echo of our feet floated through the upper floors. We climbed three flights of stairs and proceeded the length of another hall. At the end was a door. The Negro opened it."

"I stepped inside. It was almost pitch dark, smelling of old underwear and the sleep of a sick body. A feeble light came from a crack in the window covered by a slice of sacking. Before I could stop him, Sammy had bolted the door...Vapors spilled from our mouths in the cold air. "Let her in, Sammy," I said. "What the hell.""

"Then she tried to show me how to hold the gun. I jerked it away from her, flung the barrel recklessly in all directions."

"A bell was supposed to ring when the bull's eye was hit. Not a sound. I emptied the gun, sniffed the tart stench of powder, and made a face. Tim and Camilla laughed at the sissy. By now a crowd had gathered on the sidewalk. They all shared Camilla's disgust, for it was a contagious thing, and I felt it too."

"So this was where she lived! I smelled it, touched it with my fingers, walked through it with my feet. It was as I had imagined. This was her home. Blindfolded I could have acknowledged the place, for her odor possessed it, her fevered, lost existence proclaimed it as part of a hopeless scheme. An apartment on Temple Street, and apartment in Los Angeles."

"Still sneering, she looked at me quickly, and let out the clutch. I was thrown against the seat, then against the windshield. We were jammed between two other cars. She banged into one, and then into the other, her way of letting me know what a fool I had been."

"She was forcing it with her scorn, the kiss she gave me, the hard curl of her lips, the mockery of her eyes, until I was like a man made of wood and there was no feeling within me except terror and a fear of her, a sense that her beauty was too much, that she was so much more beautiful than I, deeper rooted than I. She made me a stranger unto myself, she was all of those calm nights and tall eucalyptus trees, the desert stars, that land and sky, that fog outside, and I had come there with no purpose save to be a mere writer, to get money, to make a name for myself and all that piffle."

"She kissed me, author of The Little Dog Laughed. Then she took my wrist with her two hands. She pressed her lips into the palm of my hand. She placed my hand upon her bosom between her breasts. She turned her lips toward my face and waited. And Arturo Bandini, the great author dipped deep into his colorful imagination, romantic Arturo Bandini, just chock-full of clever phrases, and he said, weakly, kittenishly, "Hello.""

"The dark corridor of that Central Avenue Hotel, the sinister Negro, the black room and the hopheads, and now the girl who loved a man who hated her. It was all of the same cloth, perverse, drugged in fascinating ugliness. Midnight on Temple Street, a can of marijuana between us. She lay there, her long fingers dangling to the carpet, waiting, listless, tired."

"She sat there, the white of saliva at the ends of her mouth, her teeth gritted, her hands pulling at her long hair, her face fighting off a scream, but it didn't matter; she could scream if she liked, for Arturo Bandini wasn't queer, there was nothing at all wrong with Arturo Bandini; why, he had a passion like six men, that boy, he had felt it coming to the surface: some guy, mighty writer, mighty lover; right with the world, right with his prose."

"You try so hard to be an American," I said. "why do you do that? Take a look at yourself"..."And all that paint on your face. You look awful--a cheap imitation of an American. You look frowsy. If I were a Mexican I'd knock your head off. You're a disgrace to your people."

"The desert was always there, a patient white animal, waiting for men to die, for civilizations to flicker and pass into the darkness...All the evil of the world seemed not evil at all, but inevitable and good and part of that endless struggle to keep the desert down."

"You don't understand Mexican women. They don't like to be treated like human beings. If you're nice to them, they walk all over you."

"Ah, Los Angeles! Dust and fog of your lonely streets. I am no longer lonely. Just you wait, all of you ghosts of this room, just you wait, because it will happen yet, and that Camilla, she can have her Sammy in the desert, with his cheap short stories and stinking prose, but wait until she has a taste of me, because it will happen, as sure as there's a God in heaven."

"All at once I loathed her, because she had hurt me. This girl! She had torn up my sonnet by Dowson, she had shown my telegram to everybody in the Columbia Buffet. She had made a fool of me at the beach. She suspected my virility, and her suspicion was the same as the scorn in her eyes. I watched her face and lips and thought how it would be a pleasure to strike her, send my fist with all force against her nose and lips."

"Mean?" I said. "My dear girl, I am equally fond of man and beast alike. There is not the slightest drop of enmity in my system. After all, you can't be mean and still be a great writer."

"The trouble with trouble was that trouble was looking for Coldwater Gatling. They don't like Texas Rangers down in Arizona, consequently Coldwater Gatling figured shoot first and find out who you killed afterwards. That's how they did it in the Lone Star State where men were men and the women didn't mind cooking for hard-riding straight-shooting people like Coldwater Gatling, the toughest man in leather they had down there."

"Every move she made, the soft turn of her neck, the large breasts swelling under the smock, her fine hands upon the bed, the fingers spread out, these things disturbed me, a sweet painful heaviness dragging me into stupor. Then the sound of her voice, restrained, hinting of mockery, a voice that talked to my blood and bones."

"I turned around and saw the crease on the bed where Camilla had been seated, the sensuous contour where her thighs and hips had sunk beneath the softness of the blue chenille bedspread. then I forgot Sammy, and wild with longing I threw myself upon my knees before the spot and kissed it reverently."

"We smoked them down until they burned our fingertips. Then I rolled two more. In the middle of the second it began to come, the floating, the wafting away from the earth, the joy and triumph of a man over space, the extraordinary sense of power."

"Dear Sammy: That little whore was here tonight; you know Sammy, the little Greaser dame with a wonderful figure and a mind for a moron...having read the bile your manuscripts contain, let me speak for the world at large and say at once that your departure is everybody's good fortune. You can't write, Sammy...I speak for all sensible, civilized men when I urge you to burn this mass of literary manure and thereafter stay away from pen and ink."

"I looked down at the poor calf. Its hide was spotted black and white and it had the most delicate ankles. From the slightly open mouth there appeared a pink tongue. I closed my eyes and ran out of Hellfrick's room and threw myself on the floor in my room. I lay there and shuddered, thinking of the old cow alone in the field in the moonlight, old cow mooing for her calf. Murder!"