Source: What Next For Hedy Lamarr by Joe O'Byrne Drama On One Podcast http://www.rte.ie/podcasts/2013/pc/pod-v-whatnextforhedylamarrdramaonone070413-pid0-2812992_audio.mp3
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Miss Lamarr? Miss Lamarr? / Yes? Who is it? / Miss Lamarr, I'd like to interview you. / You want to steal from Hedy? / No. I'm a reporter. / That's what I mean. Go away. / We can pay you for the interview. / Hedy Lamarr doesn't like reporters. Reporters and critics, Hedy had battles with them all her life. But she likes your voice. It sounds familiar. / Will you open the door? / So you can snap her, and expose Hedy as an ugly old hag? / I don't have a camera with me. Just a notebook. I'm a reporter, but really a writer. / Hedy met a lot of writers in her time. Some bad, others worse, and most, awful. / I'm one of the awful ones, I fear. / Huh. A sense of humour. You read her autobiography? / Yeah, sure. / Lots of lies, lots of truths, lots of truths for lies, lots of deceitful truths. But I'd like, one day, to write another truer account of the life of Hedy Lamarr. / Maybe I could help you. Ghost-write it. / Ghosts. My life is full of them. / I want to start by telling about the woman behind the mask; the intelligent girl who went out there and kicked ass in Hollywood, but was, at the same time, an inventor. / You know I have a very bad reputation, and I like to sue people. / My editor said that, to be careful about what I write. You gonna let me in? / You don't need to see Hedy. / Oh, you wanna talk through the door? / I'd like to open the door. I'm sure you are a good-looking boy. But you'll be safer. I got a reputation with men. But you'll know that if you read my autobiography. / I can look after myself. / No. I'm going to do that. So you stay where you are. / OK. Do it through the door, just listen to your voice. / Yeah. Do it like I'm on the radio. / OK. Radio signals. Big part of your fame now. / Radio signals, like spirits through the ether. My father, he used to say that, back in Vienna. Or thief through the night, just as all reporters are thieves. In fact, all writers are thieves, stealing stories from people's lives. / You've got a point there, Miss Lamarr. / Hedy Lamarr gave the world a lot of stories. Drafty ones. Yes, stories with holes. That's the life of Hedy Lamarr, ha ha. I mean, I pick scripts all the time with holes in them. Never knew what made a good story. / But you had your successes. / Yeah, I had my successes. My __, I had my ups, my downs, my marriages, my divorces, my highs, my lows. / Your biggest hit was Cecil B. DeMille's Samson and Delilah. What was your worst moment? / Say, your voice sounds familiar, like __ officer of the law who has been in my brain since he arrested me. / Yeah. That was terrible, the way they treated you. Is that your worst moment? / I go over in my head what I said, what I didn't say, what I should have said, the shame of it. Once Hedy might have played a part like that in the film, like that / strange woman. Yeah. Life just caught up with her.
Can you stop there, madam? / How can I help you, sir? Do you recognize me? / You've left the store with items you didn't pay for. / There must be some mistake. / Let me see in your bag, please? / I can pay for them now.
Do you know who I am, officer? / A shoplifter. / Look more closely. / "Hedy Lamarr", says here. / Yeah. But my real name is Hedwig Eva Maria Kiesler. / OK. But you go by Hedy Lamarr. Your driver's license says so. Now I gotta interview you about the incident about the items you stole. / I needed something for my constipation. Even screen divas get constipated. / Yeah, right. / Do I shock you, officer? / In this job you get to see all sorts. / I'm a washed-up diva. Beauty, it doesn't last. I knew that, but you use what you got when you got it. Once more, once more, once more ......
Lady, You are not feeling well? / No, officer, I'm just quoting from one of my films. It was called Ecstasy, __ notorious for my orgazm scene / Lady, you're hopping all over the place. / You think I'm deranged? / No. Confused, maybe. / Can I use that in the court of laws as my excuese? / No, no.
Hedwig, where are you? / I'm under here with Luli. / What are you doing under your father's desk, child? / Luli is acting a big part, and I was helping her. / Ah, well, you can tell Luli that acting is not for her. No decent child ever wants to become an actress. / Luli is a doll. Not a child, mama. / Hedwig, come out from under there. It is time for your piano lesson. Actresses, they are all bad women. Bad, bad women.
My parents were dead set against me acting. But then Max Reinhardt gave me my first real break in Berlin. I was beautiful. I was availabe. I had men. Lots of them. And I got myself quite a reputation with Ecstacy, Ekstase in German, directed by Gustav Machatý, an art house film, boring for many, but it had nudity in it. You've seen it? / Yes. I saw it. / In those days in Germany and Austria, there was a cult of the nude body.
Hedwig, ya. It is important that we understand how this girl, uh, how do you say, enjoys her freedom from the restrictions of a marrige, Ya? How she enjoys nature, her physical body / as she's prepared to open herself for her lover / with delight / brings / satisfaction of her dreams ... the desires she has. That's it. Thaaaat's it. / love it. I love it. Yes, yes, Hedwig
Lady? Could you stop doing that? / I became notorious, shamed my parents, of course. / Oh yeah? / I was a woman of great confidence, officer, in my looks, in my body. But you gave me the one __ __ already. I saw that. You married, officer? / Yeah. / Pity. / Huh, yeah right. / You don't go for older women / Is that how it is? / Hey. I get to ask the questions here. Not you, lady. / I like a man with a gun. Or a man that makes lots of guns. I got history with weapons. / Yeah? / I was married to a man who was in / business. Fritz Mandl. But he kept me, well, locked up in his castle, Schloss __. He made me give up acting. He bought up all the copies of my scandalous film and destroyed them, well, as many as he could find. But he didn't manage to make it disappear. You never saw it? / No, lady. / Pity. My husband, Fritz, he talked to his old friend, Mussolini, to stop the film getting a prize at the Venice Film Festival. So the prize went to ... ... instead, some film about an island of Ireland. My Fritz had money. Lots of it. He was the munitions king of Austria, and there was a lot of interest in munitions all over Europe then. ... Boys will be boys. What kind of gun do you carry, officer? / That's none of your business, lady. / Sorry officer. You are the one that asks the questions. Yeah. He brought me, his trophy, around all the spots in Europe, where / idle rich
Darling Hedwig, You must understand how men are. They are all predators. If I have something the next man will want it. He __ set himself up / competition to me, and he will not rest until he / have / from me / look down at me in the gutter from the heights of his tower. / a man with a beutiful woman / his arm / must / on his arm must always be on his guard and be prepared to use his full arsenal in defense of / cherished woman. / that is what the Garden of Eden story teaches us. / Should I be afraid of you, Fritz, darling? / No. I am speaking only in metaphors. I value your mind, Hedwig. / My mind, Fritz? Do I have one? / If you show you have a mind, you will repel men. / Is that what I should do, darling? / tick / what makes them tick / desire most of all. / You want me to be intelligent, Flitz? / with other men. / With you / to be dumb, weak flesh ? /
He was an interesting case, my Fritz. He brought me to his meetings. I had ears, a brain in my skull. It was between the wars. Everyone was interested in weapons technology. And my husband threw __ parties, and I, as a 19-year old, was impressed. And, at those parties I met Adolf Hitler, and Benito Mussolini, and every other Tom, Dick and Harry who was important. / You met Adolf Hitler? / Yes. A dreadful little man. He kissed my hand. But he had his ideas. You impressed now, officer? / I don't know, lady. / War was never too far away from people's minds, from their dreams, their nightmares.
Miss Lamarr, you still there? / Yeah. I'm still here. You get all that? / I've been writing fast. Just sorry I didn't bring a tape recorder. / I wanted to confess everything to that officer. But he was only interested in my petty crime. And I wanted to tell him all about the crime of life. I was sitting there with him, and my head was spinning, all the past and all of the future going round and round like in a washing machine, and I am sure that I even saw this moment, the old hag Hedy, talking through a door to a reporter. ... Escape. That is what life is full of. Escapes. You get trapped. Then you gotta find the escape route, just as well my husband didn't hear that before they married me ..., all six of them. / What I wanna know about is how you came to be / became an inventor / screen diva. / had to with the war. How could I not take an interest? / I was one of the uprooted. That is something that is hard to explain. My world in Europe, in Austria, in Vienna, had been __ed ... I was a Jewish exile who had to try so hard to be an American, shedding my past / also bringing something exotic. That is my secret. Hedwig Kiesler became Hedy Lamarr. Screen diva. I had to hide my Jewishness. That might surprise you, young man, but the world was diffrent then. Jews were discriminated against. There were lots of places a Jew couldn't go to then. But I have never forgotten what I was, what I escaped from. How could I, as one of the lucky ones? ... and all the Jews lived in fear of that call at the door.
I don't tell people about my Jewish background. It is a secret. No one knows. Will you keep it as secret, officer? / matter to me / religion doesn't enter into it. / I learned not to act Jewish. Do you think I can act, officer? / Yeah I guess so. / Thank you, officer, for your wonderful review. / You're welcome. / I battle that one all my life; Can Hedy Lamarr act? / I guess / camera doesn't lie, that nosy old whore. / I knew I had to get out / Vienna. / escape / if I was to survive.
Miss Lamarr, you still there? / Yes, yes, yes yes. / So you wanted to help out with the war effort? / Yeah, but I needed help for what I was working on. / In your autobiography, you didn't mention your invention, or / last minute to do, a rush job, sometimes to save the movie. / Did you know of George __'s music? / I knew he did film scores. I didn't know / about / stuff / then / only met him in Hollywood.
Lady, I don't need to know about music. / just got to j__, officer / I don't know what you mean, lady. / It is nothing dirty, officer. Frequency hopping. You know what that is? / No, lady, I don't. / I just wish __ could do something about constipation, officer. You ever suffer from it? / Lady, this is embarassing for me. / I can see that. I must say I find it attractive when the man goes red in the face. It shows he's got feelings. / that he's sensitive. My Fritz, I don't think he ever went red in his life, not even when we were having sex. I am exa__rating / kept me under lock and key, but I couldn't stand it. And I had to escape. I was Jewish. I could see what was coming.
My escape was like something out of a film. I dressed up in one of my maid's uniforms / and skipped out / uniforms / servents' entrance, went to the station, doing my best to cover my face. All I had with me was my / exciting / I was escaping to freedom. Ah, the escape to freedom, to lonliness. But I didn't know that then. For that is what it means to be uprooted.
/ this country is at the war with Germany.
Freedom. And where did that take me, officer? / to a jail cell now? And what about the future? / I will become a recluse, I expect. That is what happens to a screen diva / age, unless we commit suicide, as many do before reaching 40. For those that survive, all / reporters / lerking behind bushes with a camera to catch our demise; The once-beautiful Hedy Lamarr, formerly fated as the most beatiful woman in the world, now h__d and ugly. You think I am still attractive, officer? / You've got beautiful eyes, lady. I can see that. / Thank you, officer. You have just made my day. / I still gotta do this, lady. / Yes, I know, officer. You've got a job to do. / But can't you call me Hedy? / everyone else does, including myself. / Once I used to be Hedwig Kiesler until I got my freedom.
"Hedwig Kiesler. That is no name for a movie star" Mr. __ __ __ said to me on the boat that took to me to America / 1938 / Hedy Lamarr / came up with that for me. Sounded French, sexy, maybe even rude. The name was taken from some tragic actress; B__ Lamarr, who went before me, killed herself or something. You ever heard of / Mr. / officer? / Can't say I have. / Head of MGM Studios, most powerful man in the movie business then. He made me. He made Hedy. She was to have an exotic a__. There was to be nothing German or Jewish about me. A sexy, senseless siren was what I was to be. In Europe, take Einstein. A great mind, but also a musician. We saw no great divide between the art and science. / Hollywood. The world of the silver screen. It wanted surface, a__, it liked gossip, and wouldn't entertain that a woman might have knowledge about topido technology. You know how a topido is guided, officer? / Can't say I do, lady.
Yes, that is what I wanted to know about. You, your invention. You've become relevant again because of it. / Relevant. That is a funny thing for anyone to say about Hedy Lamarr. She is relevant. The once most beautiful woman in the world is relevant. How about that? Maybe Mr. D__ will come calling again. ... Did you see me as Delilah, officer? / I'm a reporter / Yes, of course. I get confused. All men / all sound the same to me now, in my memory. Maybe you are all alike anyway. Yes, screwing, tits, legs, ass, ... that's men. Oh, and one other thing, needing to be mothered. Now what was I asking you? / If I saw you as D___. Yes, I have seen the film. I have seen quite a few of your films. / That's a good boy. How old are you, son? / 24. / Ah, to be 24 again. But I'm working on an invention for that, though / ready / prevent my demise. / Miss Lamarr. / like more than / It was a joke. / Yes / sense of humour. / There is nothing I like more than a joke. I like laughing. I really do.
Hedy was a screen siren, officer. The most beautiful woman in the world. That's what they all called her for a while. The most beautiful woman in the world. But I had other ideas, officer, because when the war broke out, I didn't just want to help entertain the troops, which I did, I also wanted to make a contribution to the war effort, and I had experience with weapons, officer. / Yeah right. Your first husband.
It is one thing to shoot a bullet from a gun, or fire a shell from an artillery gun or a tank. The man aims the best he can with mechanical aids in adavnce of pulling the trigger. But the future is in precision, in being able to guide a large weapon to a precise location. We need a technology that can remotely steer the topedo or rocket, and I believe, it is in field of radio technology that this...... /
I knew that, in Europe, there were heads bent over drawing boards working on these kinds of solutions. And we didn't have this kind of thing in America. So I thought, Hedwig Kiesler will come up with the answers to save the lives of our American boys and win the war against Adolf Hitler and, in that way, save the lives of her Jewish people.
And so I got some books, and I started to think, but I found I couldn't work so well on my own. Do you believe in chance, officer? / I'm not the police officer, Miss Lamarr. / No. You are the reporter outside the door. Have you got a name, son? / Stuart James. / OK. ... I call you Stu, for short. / Of course. Stu is fine. / Knowing your name will help me keep my __. So, Stu, do you believe in chance? / I don't know, Miss Lamarr. / Well, I had a problem with my glands. So, I heard through some friends of mine about this George Antheil, and they gave me the stuff he wrote for Esquire magazine about them. / George Antheil says in his book, he wrote / method for a man to see whether a woman will agree to sex or not, and to make money. / Yes. George was almost a con man. He was funny, full of such boyish enthusiasm all the time. He was very proud of his time in Paris. He knew the composer S__ B__, / surrealists, rubbed shoulders with anyone and everyone. E__ P__, / Ernest Hemingway, James Joyce... Oh, George could rattle off the names. He / out / tales of Paris. But all that was over.
We met at my friend's for dinner, and all he talked about were my breasts. They were too small, thought Gorge, then he bamboozled me with all this stuff about p__try glands, and __ glands, and I / he was a dilettante / as he went along. Then we got talking about the war and how I was working on an idea for topidos, and he got interested. So I invited him over to my place for dinner. / Hello, Miss Lamarr. / You can call me Hedy, George. / Hedy, George. / I like a man who is a musician but also has an interest in science, George. / Just an amateur, Hedy. I've been thinking about your glands. / My breasts, you mean? / Those as well. / and what have you to tell me / I have to say, Hedy, it's hard to think about your glands / Then look at my face. / Well, that is the problem, Hedy. I don't know where to look. Like I said, your breasts, they are too small / and your face is too beatiful / , so get used to it. / I'll do my best, Hedy. / Well, George, / get down to / leave my glands and my breasts out of the equasion. I want to do my bit for the war, and like I told you, I got this idea about topedos.
Officer, most technological development is driven by the need to create stronger and better weapons. / Yeah. I heard that too. / __ these days, better means smarter. From my time with Fritz, I knew they were using radio signals. But the problem is, you can jam a radio signal easy, stop the weapon reaching its target.
I have people working on this, gentlemen. The company that comes up with the best solution will profit greatly from the war everyone believes is inevitable. Warfare will no longer be fought in the trenches but in the air, over the airwaves. / Fritz, why do you think war is inevitable? / Gentlemen, please excuse my wife's ignorance. Hedy, darling, because there have always been wars. There will always be wars. And that is why people like me are in this business / always be ready customers / very deterministic of you, Fritz. / Realistic, darling, just realistic. / But Fritz, have you heard the things this Adolf Hitler has been saying? The things he has been doing? You too are Jewish, Fritz. You sure he won't turn your weapons back on you?
That is quite an infernal r__, George. / I wanted it to be ... more infernal. Strauss existed before the machine took over the world, Hedy. He wouldn't have written such / our modern steel works. Our modern wars. That / that / modern composers must pit ourselves against. I was brought up in New Jewsey / industrial / see / modern / in all its force and power. The machine. I want / make music to rival the machine / fascinating. / to be able to build a wall of music, so I / to have many instruments thrumming and drumming away all at the same time, tens, hundreds, thousands even. Imagine, if I could place an instrument on the corner of every block in New York and then control them. / imagine it / competing with the noise of the city / overriding it. / You do have such wild ideas, George. / One day I might just do that / Imagine it! / very fascinating, but can we get back to my idea? / Yes yes yes yes yes, of course. You see what I've done here, Hedy? I've used a role of perforations / activates the piano keys, and that / music plays. I've done this / many different instruments at the same time, / would make / hear with dozens pianos / my ears can't wait, George. / You would like it, Hedy. / I know you would. I know you would. / modern woman / appreciate / god. There / I / music moving to a new beat. / I'm sure you did, George, but do you think this is something we can use? / I know them all. S__, Stravinsky, and the writers like P__, Joyce / George! / Yes yes yes yes yes. It's just that I do miss those times. ... ... ... Let's say there are / 88 combinations / that triggers 88 chords / piano playing without a piano player. OK. So what wanna do is to send a signal from a transmitter to a topedo, ... / but you don't want anyone to jam it. So, let's say the signal changes like / maybe you've got something there, George. A mix of art and science. / Real avant-garde, Hedy.
Was it that simple? / Nothing is simple in life, Stu, except the telling of it. But, yeah, I guess those moments when you figure something out, they come out of the blue, intuition or something like that. You have a problem in life, you look at it, and you gotta figure out a solution. I'm old. I've got problems getting in and out of the bath. I'm working on a design for a device for that. It keeps my mind young. Where I got that from? Not / my father, though I loved him. My mother, she was cultural. No. I got it from my people, in Vienna, in Berlin. My people were involved in every area of science and music and the arts. It was like a womb of creativity.
That's all very interesting, lady, but I still gotta book you for shoplifting. / Officer, the last time I ... for shoplifting, I had to do a press conference. The shame. You gotta think of that. / No lady, you gotta think of that when you / stealing the items. / Officer, / Lady, I'm not answering that. / It doesn't just block your passages. It blocks your mind. And the reporters, they'll be like vultures. It'll be all over the press. The one time the most beautiful woman in the world / films such as / The Strange Woman, Samson and Delilah, is now a washed-up petty thief. / now we can see / Hedy Lamarr, revealing ...walk / red carpet with her husband
John Loder. One of my six husbands. Lowe was his real name. Decent actor, and a soldier in his time too. Told me about his time in Ireland / his father, a general in the British army, / surrender / British army, accepting the surrender from the leader of the / whatever year it was / First World War. / 1915 or 1916 / Pierce was the man's name. / his death / a firing squad / A quiet sort of man. But I am hard on my husbands. On men. / probably know that, Stu / Six marriges is quite a few. / Marrige is an active convenience. But for what convenience, I am not sure yet. / You are very funny, Miss Lamarr. / If you can not have a laugh in life, then what is it for? / must remember that. / will / difficult to follow me, son. I am hopping all over the place. / I'm able to follow you. Frequency Hopping. / Yes. George. He was so enthusiastic about our invention, and we patented it, and brought it to the military.
Well, / honored, Miss Lamarr, / that you should devote your time to try to help our boys as they try to defeat the evil Nazi empire. Hard to believe / such a beatiful / press / love this, huh? / really love this / We hope the Navy will as well, General. / George has some models and some drawings. / Well, we are all ears, Miss Lamarr, and eyes. / Well, General, the idea / weapons guidance system using radio signals / now / single frequency / will be very easy to jam it. / Huh huh. / So, what I have been working on / working on similar ideas, is a frequency hopping device. It is / simple / I see it fascinating, Miss Lamarr. You know, I do love your films. And your idea, well, / what / take / to our engineers / explain, General. / Yeah go right ahead. / We have drawings, diagrams and written explanations here. / Sure. / What we are going to use / records like those / piano / long / positions / plurality of longituidal roles along the records / piano records / roles. Ingenious. / In a conventional / play / there may be 88 roles / if we used / similar system, such a record / permit the use of 88 different carrier frequencies. / can be made longer, or slowed down, so they will last long enough to steer a topedo / topedos, 88 different fequencies ... fascinating, Ms. L__ / But let us talk about a topedo / let us, Miss Lamarr. / topedos can be steered using our invention / from a mother ship / course change from time to time to make sure it strikes the target. / The topedo may be followed from the mother ship, or followed / in an airplane / which can communicate / equipped with the necessary synchronous transmitting equipment. / Synchronous transmitting equipment. I see Miss Lamarr. Fascinating. Fascinating, Miss Lamarr. Miss Lamarr. Miss Lamarr.................... / /
all they saw was the actress, the most beautiful woman in the world at the time. And George, they saw the notorious avant-garde composer, now penniless. / Lady, I can see you did your bit during the war. But that / long time ago. / Patent No.229 / You can check it out. / You got a husband we can contact for you? / A husband? Hey, officer / one to the next / increased frequency. Ha, ha. / Look, lady, I gotta do this. / don't know / say to the store. So, what did happen / your invention, Miss Lamarr? / Ah, they didn't use it / now / they don't have to pay / The patent has expired. / the technology / in Cuba / didn't fire but they were ready. That piano record ready to roll.
Miss Lamarr, are you still there? / Yes, Stu. For a second there I thought I was imagining you were there. / No, Miss Lamarr. I am here. / What do you want? / like I said, / interview / No, that is not what I mean. I mean, in life. Out of life. / I don't know ... to make a difference, to bring knowledge / what I write. And you? Miss Lamarr? / I'm still working on that. Hedy was a project, one with a time limit on her. / script / to decline. Her looks / parts are dried up, she would retire, make a comeback or two, then become a recluse, or kill herself. But Hedy Keisler didn't escape from her husband / herself / didn't read the parts / carefully enough about / gut-wrenching life / as a recluse / interest in her every failing, her struggles with money, with lonliness, her fear of getting old, the botched plastic surgery, huh ... and her memory of those golden years in Vienna before she was uprooted. / small comfort / knowledge that / word / has been erased, exterminated, the world of her people, along with the people / What do they care about that, those reporters? / George. Don't be too upset. / But I am. The fools / unworkable because / look at clocks. look at watches / any miniture level. / lose this war / if they are not careful, Hedy / Don't say things like that / One day they will realize what fools / other film parts / how / in my films / play / opposite male characters / are accurate, they are not so smart, not so brave. So it comes as no surprise that we have been / But Hedy, Hedy, Hedy, Hedy / George! / / Officer, you are really handsome. / really that won't work on me. We are done. / I got / Officer, tell no one Hedy Lamarr was jewish. It's a secret. That's the one thing / OK, Miss Lamarr. I'll keep your secret / escaped in time, became Hedy Lamarr, and this Hedy Lamarr denied here people. If she'd stayed, what would have happened? But she was fortunate enough to leave. But then, what else could she do? / / German concentration camps / dead / once they were busy..... / / So Hedy continued with her career; Hedy Lamarr, the screen diva with a touch of sexual mistique / But I'd like to know / how you feel / honored / received honor / medal from Austria / for your inventions. / And do you understand why, Stu? / Well, yes. Your ... spectrum technology is used in Wi-Fi and also / mobile phone / Blue Tooth technology. / But do you understand the science behind it? / I think so. / That's good. You've done your homework. / And the Canadian company, __, has / big / patent that expired / because / have seen / yes, Miss Lamarr. / Please call me Hedy, Stu. / Yes, Hedy. / And did you like my breasts? / Ah, ... Yes. / That's a good boy. Ha ha ha. It's too late for another close-up, Mr. D__ / for some time / feel / saw you many years ago. But maybe it is because / seem like a one man rolled / same voice. Are you real, Stu? / Yes, Hedy. / When you have lived with the movies like I have, Stu, you see everything as a script. And sometimes I feel I am in / science fiction movie with time travel, where every man is really just the same man, and then I wake up for a moment, and I realize I am a character who is playing a mad woman in an asylum, and then I realize I am not an actress at all, that I am in the asylum for real. But there are holes everywhere, in every story, in every script, all drafty. / / Hedy, Hedy, Hedy, don't look in the mirror, you will frighten yourself. George, where are you? We tried. We won in the end. Too late. Turn that piano roll. Never stay too long anywhere. / or with anyone. That's my role, round and round into the Vienna woods. A child. A beautiful child, clutching her favorite doll, Luli. Must / carry / like a mask. But the mask grows old, and it cannot be shed. The mask puts down deep roots. That is the problem, like the ancient tree / The person who invents the portion / feed youth into those roots / that person will be truly famous. But now, where am I? On the carousel to where? Death? I am not afraid to die, Stu. I never understood death, so how can I fear it? Stu, are you there? Or were you ever there, Stu? Or have I just scripted you? Invented you? You, the hole in this story. You, my ghoast, Stu. Officer, you never told me your name. It is one of the cruel tricks of the mind. I have played out / Or did we have it? No. certainly not. Shame has deep roots. Maybe that is why I remember you so well. Am I free, at long last? Free to be lonely. Ha ha ha. Well now I'm ecstatic at long last. And George, where are you now? George, are you dead? Yes I expect you must be. General, you are a fool to have turned down the invention of Hedy Lamarr / et al / US patent No.2292 / 87 / Hedy Lamarr, screen siren, inventor, and orgasm specialist. But what is next for Hedy Lamarr?