Marilyn Monroe Read Online Free PDF

again, Johnny threw her out, then took her back in the next day.
    By the time
All About Eve
was released in October 1950, Johnny was gravely ill. A doctor had warned him that his sexual relationship with Marilyn was a strain on his already weak heart. Johnny replied that he would rather die than give her up. Mortified by Marilyn’s refusal to marry him, he asked Joe Schenck to try to change her mind. Uncle Joe took a practical approach: He informed Marilyn that Johnny was unlikely to live much longer and urged her to marry for her own good. As Mrs. Hyde, she would inherit his palatial home on North Palm Drive in Beverly Hills and much else that he owned.
    Still, Marilyn said no. It wasn’t money that Marilyn wanted in life but respect; and who would respect a girl if she married a man she didn’t love just to be sure she inherited his estate? Yet even as Marilyn said all this, she could not quite bring herself to accept that Johnny really was about to die. And she certainly didn’t think it would happen so soon.
    Two months later, all at once Marilyn was alone. Yet again, her career screeched to a halt. Yet again, she had no one to turn to. For a time, it seemed to Marilyn that without Johnny she was helpless. Everything good that had happened recently—the films with Huston and Mankiewicz, the new studio contract—had been due to his connections. Marilyn had paid attention to all that Johnny had said. She understood his plan for her. But on her own, Marilyn had no access to the A-list directors Johnny insisted she needed in order to become a star.
    When she and Kazan saw Arthur Miller off at the airport in January of 1951, there was not really any question of what Marilyn must do next. Whatever her feelings for Miller, she knew that Kazan was her main chance. Marilyn was prepared to hold onto Kazan in whatever way she could.

    The Beverly-Carlton on West Olympic Boulevard had a reputation as a good second-rate hotel where screenwriters took up residence when thestudio was not paying the bill. Across the street, an annex offered four apartments on the second floor. Marilyn moved there when Arthur Miller went to New York. She gave no explanation to her roommate and dramatic coach, Natasha Lytess, who guessed that Marilyn required privacy because she was seeing a new man.
    The bed, which dominated the tiny studio apartment, was actually a fold-out sofa covered in a nubby beige fabric. Marilyn almost never made it up as a sofa. There were plump, block-shaped bolsters along one gray wall beneath a large unframed mirror. Two low, light wood bookcases, crammed with books and pictures, served as a headboard. On one shelf was the slender red edition of
Death of a Salesman
that Miller had given her. There was a copy of
Focus
, his novel about anti-Semitism. There was a copy of Ibsen’s
An Enemy of the People
, a play which Miller had recently adapted for Broadway. Directly over the place where Marilyn slept on a tufted, white satin comforter, a black-and-white photograph of Miller’s gaunt face leaned against some books on the lower shelf. She expected him to return soon.
    Harry Cohn, nervous about the politics of Miller’s screenplay, had submitted it to the Federal Bureau of Investigation for review. He also consulted the labor leader Roy Brewer, of the International Alliance of Stage Employees. In sending
The Hook
out to be vetted, Cohn was almost certainly motivated less by patriotism than by economics. Films that were politically suspect, whether by virtue of their content or of the leftist backgrounds of the people who made them, ran the risk of being boycotted by patriotic and religious groups. The image of pickets at the box office was enough to put off any studio executive. Presumably, Roy Brewer could advise Miller and Kazan on potential problems in the script. Brewer was soon to testify at HUAC on the Communist conspiracy to seize control of the Hollywood labor unions.
    Marilyn believed that Miller had gone to New