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This chapter opens with Al ruminating on the inconsistent nature of humanity. As an example, he says if his story were a movie, his hatred for Sammy would have to be something “noble and conclusive” (68), whereas in real life Al cannot stay away from him. Sammy then calls Al to invite him out. In the process, he belittles Al’s enjoyment of reading, reduces books to something to be turned into profit, and derides Al’s conscience. Despite this, Al still decides to go out with him.
At Sammy’s apartment, Al meets Kit Sargent, a fellow Hollywood screenwriter. Kit is accomplished and intelligent, and Al admires her writing. The three go to The Back Lot again. Kit tells Sammy off for being rude to a waiter, and though Sammy is annoyed, Al observes that he takes note of Kit’s criticism. Al attributes this to the fact that Sammy doesn’t let his ego get in the way of his relentless advancement.
Kit and Sammy begin to dance, and though Kit seems to enjoy it, it occurs to Al that Sammy doesn’t know how to have fun or relax. When they sit back down, Sammy goes off to try and schmooze with a producer named Franklin Collier. When Collier mentions he needs a story set in the South Sea, Sammy pretends to have a story already. He manages to dodge telling Collier what it is right then, and arranges a meeting for three days later. Al watches this happen, and watches Kit’s reactions to Sammy. He finds himself unable to judge exactly how she feels about Sammy.
After Collier leaves, Sammy begins to make up a plot for his story right on the spot. With Kit and Al as an audience, he makes up a story like “an old junk dealer […] who used to collect all our old newspapers to grind into fresh pulp again” (81). Sammy invents his story by stealing from another South Sea movie, Rain, the plot of which Kit has just relayed. At the end of Sammy’s rapid improvisation and plagiarism, Al is horrified, but Kit remarks that she thinks Collier will buy the script. When Al confronts her over this, Kit says that it makes no difference whether she supports Sammy or not, as her words won’t change Sammy’s actions. She and Al debate the number of “Sammy Glicks” in the world, with Al arguing that there’s only one Sammy Glick, and Kit arguing that there are many men like him; Sammy is just the best at it. Kit and Al then dance till Sammy takes them back to his apartment.
Back at the apartment, now in company with Billie, Sammy continues to improvise and improve his story. As the group discusses it, Sammy imparts his work philosophy: “Work hard, and, if you can’t work hard, be smart; and, if you can’t be smart, be loud” (89). As Sammy relates a story of stealing another writer’s idea in his first production meeting in Hollywood by being louder, Al realizes Sammy is prouder of the fact that he was able to take credit than he would be for thinking of a good idea himself.
Seeing that Al is disheartened by Sammy’s poacher’s approach to screenwriting, Kit assures him that there are writers who actually write in Hollywood. This leads to a discussion of the newly formed Screen Writers Guild, of which Kit is a member. She’s even convinced Sammy to join. Billie and Al leave Sammy’s, though Al is disappointed that Kit does not leave with them. Back at Al’s apartment, the two have sex. Afterward, Billie says she likes to have sex because it feels “like the friendliest thing two people can do in the whole world” (95), which is also why she’s never thought seriously about becoming a sex worker. She adds that that’s why she’s never had sex with Sammy—even if he didn’t pay for it, she thinks it would feel transactional.
Al, Kit, and Sammy attend the premiere of Girl Steals Boy. Kit describes the audience for the preview as a tough crowd who will focus on the technical qualities of the movie. Sammy has calculated the number of “laughs” in the script, and is determined that the audience will find it funny. At the premiere, Al sees Sidney Fineman, Sammy’s producer, whom Kit describes as someone who really loves Hollywood and storytelling, but who is going to be forced out for playing it safe due to the Depression.
The movie starts, and Al notices that Sammy is the only person credited for the screenplay. Al asks him about it, and Sammy demurs, saying, “[I]t’s a tough break for the kid, but that’s Hollywood” (99). The movie begins, and Al notices Sammy keeping count of every time the audience laughs and where there is dead space. He sees that Sammy is learning the movie business after the fact and thinks that Sammy simply treats real work and stealing with the same drive and focus.
When the movie ends, Kit sneaks out the side door with Al to avoid being asked if she liked the film. She says it isn’t because she didn’t like the movie, but because she doesn’t want to express an opinion out of obligation. As Sammy engages in discussions with the director and producer outside the theater, Kit and Al begin to head off to get a drink. Before they can leave however, Al is stopped by Julian Blumberg, who begs to meet with him. Wanting to spend more time with Kit, Al agrees to meet with Blumberg the next day for lunch.
While Kit and Al have drinks, they share their stories of meeting Sammy Glick. After Al tells his story, Kit tells him that when Sammy first showed up at the studio, there was a political crisis in Hollywood. Her studio wanted everyone to donate a day’s wages to the Republican candidate for Governor of California. Kit refused, and Sammy, new to the studio, harassed her about it continually. Finally Kit complained to the studio heads, which was exactly what Sammy wanted. By complaining about him, Kit made Sammy known to the studio heads as someone who supported their interests. Sammy then thanked Kit for the help.
Kit finds Sammy exciting, which upsets Al even though it reflects his own feelings toward Sammy. Kit also admits to feeling sorry for Sammy, as she doesn’t think he can help being the way he is. Sammy then arrives with Fineman. Sammy talks excitedly about his success and insists on waiting until the reviews are out. When the paper arrives, Girl Steals Boy has a rave review, which Sammy admits to purchasing by agreeing to buy a $200 ad in the newspaper as a bribe. They head out to a club, and Al gets drunk as he once again ponders the question of what makes Sammy run.
The next day, Al goes to meet with Julian Blumberg. Blumberg appears desperate and upset. He says he wants to talk to Al because he’s a friend of Sammy’s. Al thinks about how Julian and Sammy are so different, though they come from the same impoverished background. At lunch, Julian tells the story of what happened between him and Sammy. Sammy took Julian’s script for Girl Steals Boy, promising that he would send for Julian after laying the groundwork in Hollywood for him. After weeks of waiting, Julian’s wife Blanche insisted that they drive out to Hollywood themselves.
Using their savings, they drove across the country to meet with Sammy. However, Sammy dodged their calls. When Julian managed to get a hold of him, Sammy berated him for having gone out to California and told him he had nothing for him. Julian was too ashamed to tell Blanche that he talked to Sammy. Though Julian desperately tried to get a job, he ended up having to tell Blanche. Out of money, they drove back to New York.
When they got there, they found a telegram waiting for them from Sammy with two tickets back to Los Angeles. When they arrived back in Los Angeles, Sammy greeted them overjoyed. He brought them to his apartment and invited them to stay. He said that Julian wasn’t technically on payroll yet, but that he would hire him to help finish up some scripts. As Julian edited the half-baked scripts Sammy gave him, he noticed that Sammy never offered much praise but did rush very quickly to bring the scripts to the studio.
Sammy told Julian that the studio wasn’t going to hire him but that Sammy would continue to pay him $35 a week. Julian and Blanche got their own apartment, and Julian continued to fix Sammy’s scripts while still working on his own original piece, Country Doctor. After a few months of this arrangement, having shown Sammy the script for Country Doctor in the hopes that it would help him get a job, Julian found out that Sammy has stolen that script too.
After relating this saga, Julian tells Al that at the screening of Girl Steals Boy the previous evening, he realized all the practice writing he had done for Sammy had been stolen and put into the movie, without Julian getting any credit. When he tried to confront Sammy, he was brushed off, which is why he approached Al. That morning, Sammy came by and offered Julian $50 a week to continue ghostwriting for him. Blanche was very upset by this offer, as she could see the detrimental effect the relationship was having on Julian’s confidence and happiness. She’s threatened to leave him if he doesn’t reject Sammy’s offer.
Al is horrified by how Julian has been taken advantage of, and he agrees to help him get a fair offer from Sammy. Knowing that Sammy is waiting for Julian, Al identifies himself as Julian to get past Sammy’s secretary. He then confronts Sammy, insisting that he give Julian credit and help him get on payroll. Al first appeals to Sammy’s sense of justice, urging him to do the right thing. When this approach fails, he argues that Jewish people should help each other. Sammy angrily rejects this second appeal as well, and he kicks Al out of his office.
In desperation, Al goes to Kit for help. He tells Kit Julian’s story, and Kit agrees to do what she can. A week and a half later, Kit calls to say she’s gotten Julian a weekly contract for $100, but as she knows Sammy won’t want to let him go, he’s practically got a set job for a year. Kit then attempts to get Al to agree to join the Writers Guild, but Al is noncommittal. Al then calls Julian and Blanche and gives them the good news, but it is Sammy who picks up. Sammy has taken credit for getting Julian a job.
These chapters are particularly focused on Sammy’s talent for plagiarism. His skill in taking credit for others’ storylines and ideas has propelled him rapidly through the ranks of Hollywood, and he takes full advantage of his success. His rapid-fire improvisation of a movie to Kit and Al shows the lengths he will go to and the energy he will put in to get ahead. It becomes even clearer that Sammy does not steal or cheat in order to avoid hard work—Al notes in particular how hard he works at learning how to succeed in Hollywood—but because it is where his talent lies. Sammy’s success in Hollywood also derives in part from Hollywood’s own corruption: In a town where it is expected that you’ll bribe the paper for a good review of your movie, why act honestly?
Sammy’s unstoppable success raises important questions about The Nature of Genius. Sammy has undeniable energy and drive to succeed. He just uses this talent to manipulate his own image and pass off others’ work as his own, instead of putting it toward creating art himself. His improvisation of a movie script by pulling scenes from cliches and other films is as horrifying as it is impressive. Al observes that Sammy knows how to disguise his cons. He uses a mixture of straight plagiarism and artful stealing to make a persona of a young, extremely talented screenwriter—the very thing Julian Blumberg, his main victim, actually is.
Julian’s story allows for an exploration of Al’s own talent—that of seeing each individual as a person rather than a means to an end. Just as with Rosalie, he is the recipient of a tale of Sammy’s manipulation, and just as with Rosalie, he takes it upon himself to help the victim. Though Al’s morality can only get him so far, it is a necessary bulwark against Sammy’s manipulation. Al has the savvy to either avoid being manipulated or at least know when it is happening. He repeatedly uses his understanding of the world (and of Sammy) to help those who have been taken in and duped.
This section also introduces Kit, who offers a different worldview from either Sammy’s relentless individualism or Al’s quiet good nature. She is not only a talented screenwriter and a successful Hollywood figure, but someone who helps the collective. Kit’s status and devotion to her fellow writers present an alternative to the dichotomy seen thus far, of being a nice “loser” or a successful bully. Though she can be hard when needed (a talent Al asks her to make use of for Julian), her causes are not selfish, nor does she wield her power exclusively in her own service. This sets up the struggles with the Screen Writers Guild that Kit will face in the forthcoming chapters. In the struggle of The Collective Versus the Individual, Kit is firmly on the side of the collective.
Her toughness is almost off-putting to Al at first: “[Kit] knew how to be just as tough as Sammy in her own way. I had to admit that the characteristics that had made me hesitate about her were the ones that might do Julian the most good” (135), he says, the resemblance to Sammy being significant. Al struggles with recognizing that all of Sammy’s personality traits are neither unique nor ontologically evil. Sammy continually gets in the way of Al and Kit’s friendship and eventual relationship, their mutual fascination with him both a bonding point and a barrier.
Kit does provide a balm for Al beyond her aid with the Julian situation. Hollywood is often commented on within the novel, with Al frequently being frustrated by the internal politics and lack of integrity he perceives within both Hollywood and the movie industry. Kit genuinely loves screenwriting and is able to see both the vices and virtues of the movie industry. Again, Kit seems to present an alternative path to the one Sammy is carving out. The combination of her devotion to her ideals (even when it would be easier to give in to pressure) and her professional success show a version of the Hollywood story where one can do something meaningful artistically without either destroying other people’s lives, or being destroyed yourself.
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