the story thus far, chapters 1-25

original story by Horace P Sternwall. screen play by Horace P Sternwall and manfred skyline. chapters with asterisks* edited by Prof. Dan Leo. others by rhoda penmarq 1. “slade busts out” - introduce broadway actress (and favored cripian resident) HYACINTH WILDE and her MAID, in her suite. they talk about STAN SLADE, international jewel thief (and former paramour of hyacinth) who has just broken out of prison. cut to hotel lobby, introduce house detective NOLAN and hotel residents and lobby sitters "FARMER BROWN"and MISS CHARLTON aka AUNT CAROLINE *2. "class" - introduce MORTIMER the elevator operator, bandleader TONY WINSTON. mortimer speaks glowingly of slade. 3. "the hitchhiker” - introduce middle class couple CAROL and "HENRY" (real name MICHAEL) CHANDLER. first appearance of SLADE. carol and henry are heading into new york for party. carol is annoyed at henry's cautious driving in fog. they pick up the hitchhiking slade, who takes over as driver. they drop him off in vicinity of st crispian. *4. “hyacinth” - slade makes his way to hyacinth's apartment. first mention of trunk. first appearance of COSETTE (not named) 5. “angie” - introduce wealthy young man about town CONRAD COLLINSON, and ANGIE, young woman of mysterious origin he is in love with. also the two BILLS (automat habitues). conrad is waiting for angie in automat. she appears with two detectives - she accuses conrad of white slavery. conrad's package - which he thinks is brooch for his aunt miss charlton - is found to contain drugs. conrad is arrested, booked and released. first mention of FRISCO JOHNNY RAMIREZ *6. "the trunk" - stan and hyacinth open stan's trunk 7. “somewhere in the night” - carol makes scene at party. throws drink in face of hostess ESTELLE. fights with henry, goes in search of stan slade at st crispian's. *8. "room service, or speak my hungry heart" - introduce JAKE the bellhop. mortimer and jake in elevator - mortimer deduces that the meal jake is carrying to hyacinth's room is for stan. 9. "softboiled tangerine" - introduce MRS COLLINSON (conrad's mother). conrad at breakfast, then leaves for court appearance re his arrest the previous night. introduce WILLIAMS the butler, DAVIS the chauffeur *10. “olaf” - introduce OLAF the doorman. carol appears at back door of hotel, wanting to help slade. olaf is polite but noncommittal. she goes to Prince Hal Room. conrad appears. 11. "galapagos tangerine" - conrad and chauffeur davis on way to court. - looking for info on angie, they stop and ask MIKE (street person) about address on 193rd st, also galapagos consulate. they arrive at courthouse, meet lawyers PERKINS and WILL WILEY *12 - "Farmer" Brown - back story of Farmer Brown 13 - "jake gets ideas" - jake enters hyacinth's apartment - he tries to extort money from stan by threatening him with exposure *14 - "Aunt Caroline" - back story of Aunt Caroline 15 - "the detectives" - scene in al's bar, a hangout for private detectives - introduce owner AL, detectives FLANAGAN, FORTESCUE, VIC VANCE and LOU GRACCHUS. vance and gracchus intercept call from will wiley to fortescue, persuade wiley to hire them, rather than fortescue,to find/get info on the mysterious angie. *16 - "vile little man" - jake continues attempt to try to shake down stan. *17 - "wages of greed" - continuation of 16. hyacinth incapacitates jake with liquor bottle on head. 18 - “galapagos sunset” - angie on beach in galapagos (?) with nameless associate. she regrets fiasco with conrad - references to RAMON and frisco johnny ramirez 19 - "gramercy 7-5316" - vance and gracchus contact collinson residence from al's bar - then appear there to confer with conrad re finding angie *20 - "wolverington" - back story of LORD WOLVERINGTON, crony of Aunt Caroline 21 - " improvisation" - stan and hyacinth try to deal with comatose jake. front desk calls, looking for him. *22 - "Nolan" - back story on Nolan. introduce BERNSTEIN (hotel manager) who informs nolan jake is missing 23 - "the conspirators" - hyacinth finds mortimer, enlists his help with jake. he tells her of room 603, used by management to stash drunks. *24 - "end of the line" - Tony Winston and his Winstonians ponder their fates. introduce SHIRLEY DE LA SALLE, singer with band. *25 - "Balls" - conrad enters Prince Hal room, strikes up conversation with Carol. "man with mustache" enters. chapters 26-50 chapters 51-75 chapters 76-100 chapters 101 -

70. the procedures of pete palomine

by manfred skyline

illustrated by roy dismas and rhoda penmarq

editorial consultant: Prof. Dan Leo

click here for previous episode, here to begin at the beginning

in our previous episode, we left gallery owner cosima collinson being questioned by private detective francis fortescue as to the nature of the works, whose safety she had expressed concerns about, of the artist pete palomine. "... but, you see, it doesn't take into account the peculiar nature and method of pete palomine's productions. those methods which have caused him to be branded a fake, a poseur, and so forth. methods which have outraged some, and discomfited others. do you know what i am referring to?" "not really. i vaguely remember something about hypnotism? why don't you fill me in?" "yes, of course," cosima answered. "as i said, pete has brought a lot of the opprobrium down on himself quite deliberately, in order to generate controversy and publicity. and has, i am sure, exaggerated the extent he uses the techniques he describes." she laughed. "when he talks of 'hypnotizing' his subjects - or apprentices or collaborators or whatever he calls them, he neglects to mention that he has no expertise in hypnosis. he may go through the motions of hypnotizing them, and they may humor him - you get the idea." fortescue nodded politely. "if he is hypnotizing these people," cosima went on, "i am sure he does it much more efficiently with bottles of scotch or sticks of tea." "so he has these - apprentices or collaborators - doing how much of the work exactly?" "until quite recently," cosima replied drily, "all of it." "i see." fortescue nodded politely and picked a cup up from the coffee service that lay between them. "of course, as he points out whenever pressed on the subject, the use of apprentices could hardly be a more time-honored procedure." "indeed. but do the buyers in today's market accept that? excuse me for saying so, but i have noticed that the yankee mentality has a partiality for what it is regards as the "real thing". "yes. and that accounts for some of the hostile criticism, but by no means all. much of it is the usual - a monkey could do it, a child could do it, and so forth." "so these works, however and by whomever produced - are not highly representational - are what the public thinks of as 'modern art'." "exactly." "this is all illuminating, but what does it have to do with the threats to steal them? all the objections i raised before, and that you indicated you agree with - " fortescue shrugged. "the implied threats involve the disgruntlement of one or more of the 'apprentices', who feel they are not to be adequately compensated." "ah." fortescue considered this. "what kind of money is involved here, if you don't find the question indelicate? and these apprentices - couldn't they have recourse to lawyers?" cosima laughed. "to answer your first question - hopefully a fair amount of money. as to the second, the kind of people pete uses - or used - he is getting away from his earlier method - are not the kind that have attorneys on retainer." "oh. and what kind of people does he use?" "the kind he picks up on the waterfront and in times square." * from the new york world-dispatch, sunday, august 22, 1947: a new kind of "proletarian" art: the procedures of pete palomine by florence flanagan, arts correspondent the paintings on display at the 23c gallery on east houston st this week (through thursday) by the new artist pete palomine might be taken for deliberate primitivism, imitations of kandinsky, or second cousins of the works of recent trend setters like pollock and de kooning. fortunately the artist himself is on hand to reveal just how unique they are. at a very well attended opening, mr palomine was the epitome of graciousness in answering all of your corespondent's questions - as well as volunteering much information she would never have thought to seek. correspondent: no one ever admits to being a member of any "school". might you be an exception? palomine: no, i don't belong to any school. that's not the american way. we are all rugged individuals. individualists. in europe they like to sit around outside in cafes and issue manifestos and proclamations. but not here in the u s a. c: you don't sit outside in cafes? p: no, here in new york it's usually too hot or too cold. c: how about inside, in bars? p: oh, i find my best work - my best inspiration - in bars. and automats. especially the ones around times square. c: do you associate with other artists at all? p: not if i can help it. i get out and mix with the people. c: but you would not call these paintings proletarian art, would you? p: of course i would. as trotsky said, "art is an expression of man’s need for an harmonious and complete life". and in these works i tap that need directly. c: where do you find your inspiration? p: in the dark streets of the city. and the even darker streets of the soul. c: could you be a little more explicit? p: sure. i talk to people, wherever i find them, and i ask them if they want to contribute to an artistic project. c: so how do they contribute to the project? p: well, if they are agreeable - i don't twist anybody's arms, you understand - i provide them with paint and a canvas and let them go at it. the only thing i ask is that they work fast. c: who is the artist, they or you? p: that is a bourgeois question. c: do you make any suggestions? p: no, i tell them to just fill the canvas up. c: what if they don't work fast enough? p: they usually do. but sometimes if they have inhibitions, i hypnotize them a little bit. c: just a little bit? p: no more than necessary. freud said "my arsenal contained only two weapons, hypnotism and electrotherapy… ". my arsenal contains only hypnosis and slipping them a few bucks. c: have you had any misadventures in your use of hypnosis? p: no. c: so do you renumerate them? just a few dollars? p: a double sawbuck at most. hey, they are happy to have it. these are real people. i am not approaching people at delmonico's or the four seasons. or even toots shors. c: i am glad we have heard from comrade trotsky and doctor freud. do you have any final words? p: another quote from trotsky: "a protest against reality, either conscious or unconscious, active or passive, optimistic or pessimistic, always forms part of a really creative piece of work." c: thank you for your time, and for being so forthcoming. p: thank you. "from the depths", an exhibition of new paintings by pete palomine, is scheduled to run through thursday, august 26, at the 23c gallery, e houston and ridge streets.

71. "ten grand to bora bora"

69. cosima gets down to business

by manfred skyline

illustrated by roy dismas and rhoda penmarq

editorial consultant: Prof. Dan Leo

click here for previous episode, here to begin at the beginning

williams had just finished trimming the crusts of the last roast beef sandwich for conrad and his two guests, when he heard the front door open. he stopped and listened, then relaxed and proceeded with the sandwiches when he heard cosima's unmistakable authoritative steps approaching. he was neatly arranging the sandwiches on a china plate with olives and radishes when cosima entered the kitchen. "good morning, miss." "good morning." "these are for mister conrad and his guests. then i will make yours. your guest is not due for another twenty minutes or so, correct?" "sure, sure. no problem. no rush." cosima took a pack of tareytons out of her pocket and lit one with a match from a box on top of the gleaming white stove. she leaned back against the kitchen counter. "tell me, williams. did conrad and his friends arrive in a cab?" "i assume they did, miss. they didn't say otherwise. and i took a quick look at the street outside and there were no private vehicles." "did you notice a cab on the street, between lexington and park?" williams thought a moment. "i might have seen one. headed west?" "yes." "there may have been one. a fair way up the street though." "probably not the cab they came in?" "i suppose it could have been, if it made a u turn or backed up half a block. " williams was used to curious and apparently pointless questions from all the family. also to their artless prying into each other's affairs. "hmm. conrad's friends, anyone you recognized?" "not at all. he introduced them both, i assumed neither had been here before." "two people?" cosima clearly wanted to know more. "yes, a young woman and a gentleman." cosima blew a couple of perfect smoke rings. "and, did they - uh - look like persons that other persons might be following." "well, as to that i couldn't hazard a guess, miss. the young lady seemed harmless enough - a somewhat out of town type. but the gentleman - "williams shook his head - "the gentleman - rather a forbidding looking fellow. an individual one might hesitate to follow - and not just into the proverbial dark alley." "not someone to bring home to mother?" "not to very many mothers." williams placed the finished plate of sandwiches on a silver tray on which a coffee pot and cups and saucers were already arranged. "well, thanks, williams, you have been very helpful." cosima pushed herself off the counter. "i will go down to the sitting room and wait for my guest to show up." "and i will bring you your coffee and sandwiches in about twenty-five minutes. " "yes, do that. we will count on this individual's punctuality." * "what am i doing here," carol wondered, as she stared out the window at east 86th street. not much of a view - other buildings like the one she was in, but none she could see with any lights on. what time was it anyway? conrad and johnny were ignoring her - as they pretty much had on the cab ride - and running on about "regimens" - whatever those were. suddenly she was very tired. very, very tired.... * "you are early, mister fortescue. i take it you had no trouble getting here." cosima poured two cups of coffee as fortescue looked around politely at the artworks that adorned the walls of the green room. "no, none." "cabs are actually easy to find this time of night." "yes, they virtually fight for your custom." "i find myself walking almost everywhere, if i have the time. no better exercise, really, provided you do enough of it." "yes. you know when i first came here - to the states - i bought a bicycle, and i used that for transport." "you mean a motorcycle." "no, a bicycle. that you pedal with your feet." "oh. and did you have a little rubber horn that went toot-toot-toot?" "well, there you have it. i realized it made me a figure of fun in these parts - something one can't afford to be in my profession." "i see. well, speaking of your profession, let's get down to business, shall we? would you like a sandwich first?" "thank you. i can nibble on one as you tell me what i am here for." "tell me then, are you conversant at all with the new york art world - i mean, with the artists currently attracting attention?" "ah - i might recognize some names from press accounts. other than that - " "you don't patronize the galleries." "at present i have neither the wherewithal nor the time." "i understand. i expected no more - anything more would have been a bonus. but have you heard the name pete palomine?" "oh yes, i have heard the name. more likely, seen the name. from what i have read he seems to have at least as many detractors as admirers " "yes, he's been called a fraud, a phony, a charlatan - always a good sign." "and your interest in mister palomine?" "i am having an exhibit of his paintings at my gallery in a couple of weeks." "but you are not his agent?" "oh, no." "let me guess - you are afraid someone might try to steal his paintings at that time." "yes - in fact, mr palomine has received communications to that effect - anonymous , of course." "by phone, or by letter?" "by phone - and by individuals passing him in the street." "i see. if you don't mind my asking, how well do you know mr palomine. do you consider him a friend?" "well, of course i have met him on numerous occasions. i don't know that i would call him a friend." "do you trust him?" "oh, i don't trust anyone - least of all myself." "may i speak freely?" "that is what we are here for." "i am afraid this all sounds like a hoax - on mr palomine's part, i mean. perhaps to drum up attention. first off - art thieves don't generally target new artists. they tend to go for old masters, but not of the first order. or artists that are no longer considered to be in vogue, but might still command fair prices from the unwary." cosima smiled. "you sound authoritative. i should have asked you before - do you actually have experience in this area?" "not so much. but i apprenticed in london under the renowned reg roper, and no one knew more than reg about the art theft game." "how interesting." cosima took a sip of her coffee. "and might the renowned reg be available for consultation here, do you think?" "no, reg perished - strictly speaking, disappeared - while on his majesty's service during the recent - now, not so recent - hostilities in europe." "i am sorry to hear that. please go on." "yes. well, art thieves - actually thieves of any sort - are not going to advertise their intentions. art thieves in particular count on the carelessness - what might be termed the innocent sense of invulnerability of their intended victims. you see this in even some of the most spectacular and well known thefts." cosima considered this. "yes," she replied after a pause. "this is all very sensibly put, and i sort of had some of these ideas myself. but, you see, it doesn't take into account the peculiar nature and method of pete palomine's productions. those methods which have caused him to be branded a fake, a poseur, and so forth. methods which have outraged some, and discomfited others. do you know what i am referring to?" "not really. i vaguely remember something about hypnotism? why don't you fill me in?" to be continued

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