Back The Great Pretenders
Chapters (55)
  1. Cover
  2. Praise for The Great Pretenders
  3. Dedication
  4. Epigraph
  5. PART I
  6. Chapter One
  7. Chapter Two
  8. Chapter Three
  9. Chapter Four
  10. Chapter Five
  11. Chapter Six
  12. Chapter Seven
  13. PART II
  14. Chapter Eight
  15. Chapter Nine
  16. Chapter Ten
  17. Chapter Eleven
  18. Chapter Twelve
  19. Chapter Thirteen
  20. Chapter Fourteen
  21. Chapter Fifteen
  22. Chapter Sixteen
  23. Chapter Seventeen
  24. PART III
  25. Chapter Eighteen
  26. Chapter Nineteen
  27. Chapter Twenty
  28. Chapter Twenty-one
  29. Chapter Twenty-two
  30. Chapter Twenty-three
  31. Chapter Twenty-four
  32. Chapter Twenty-five
  33. Chapter Twenty-six
  34. PART IV
  35. Chapter Twenty-seven
  36. Chapter Twenty-eight
  37. Chapter Twenty-nine
  38. Chapter Thirty
  39. Chapter Thirty-one
  40. Chapter Thirty-two
  41. Chapter Thirty-three
  42. Chapter Thirty-four
  43. Chapter Thirty-five
  44. PART V
  45. Chapter Thirty-six
  46. Chapter Thirty-seven
  47. Chapter Thirty-eight
  48. Chapter Thirty-nine
  49. Chapter Forty
  50. AUTHOR’S NOTE
  51. Readers Guide
  52. DISCUSSION QUESTIONS
  53. Acknowledgments
  54. About the Author
  55. What’s next onyour reading list?

When at last the curtain went up on the finished film, there were cute opening credits in keeping with the light comedic touch. It began with a panorama of the Griffith Observatory and a young guide showing a group of eager schoolchildren around. (An odd echo of the tense and intense Rebel Without a Cause.) Fly Me to the Moon was a comedy, and people laughed. The film was supported with a light, unmemorable score by Adolph Deutsch, an old friend of Leon’s. Clever editing obscured some of the difficulties I had seen in the early version. Max’s rewrites had considerably brightened the comedy, and I had to admit that Leon’s addition of the ending scene with Maisie in an evening gown (and handsome Jonathan no longer looking frumpy) was a definite plus. Even Denise’s inability to render scientific dialogue with conviction had about it a sort of charm, and she certainly knew how to flirt with the camera. This audience was ready to love her.

When the film was over, the applause was thunderous, and Leon stood up, turned around, and gestured with one hand to the lovely Denise Dell, still swathed in her white chinchilla, and with the other to the smoothly handsome Jonathan Moore. They both rose and took many bows to ongoing adulation.

We all moved into the main lobby, where a chamber orchestra played an up-tempo “Fly Me to the Moon” followed by a lot of other peppy standards. Champagne bubbled and caviar gleamed. Denise and Jonathan, side by side, collected praise, bestowed smiles, and held hands in victory while photographers snapped innumerable pictures. Leon and Elsie stood at their sides, looking, I must say, like the proud parents of high school graduates.

Irene, Gordon, and I moved to the edges of the crowd. I said, “I have to admit the movie was funny.”

“Yes, but what were they laughing at?” Irene asked. “The wit, or Denise’s delivery?”

“It’s a comedy,” said Gordon sourly.

“When do you think they’ll publicly announce about the baby?” I said in a low voice.

“It’ll be a while. Denise is still raging mad at being knocked up.”

Gordon frowned. “Must you be so vulgar about it?”

Irene laughed her rippling laugh. “I have four kids. I have a right to be vulgar about it.”