FROM NORMAN MCKINNEL
RIDGMOON GARDENS

Telephone Numbers:

BOX OFFICE: GERRARD 3724,

OFFICE: REGENT 3930.

BUSINESS MANAGER
A. PENLEY.

COMEDY THEATRE,

PANTON STREET, S.W.

UNDER THE MANAGEMENT OF NORMAN MCKINNEL.

March 9th 1922.

Dear Mr. Norman Douglas,

I have read the "SOUTH WIND" by Mrs. Henry Tippett and yourself. It is workmanlike and interesting, and may be successful, though I rather doubt it. Frankly I confess it has been a great disappointment to me, because it has practically nothing to do with your book. In the play you take one incident of the book, the no doubt perfectly justifiable homicide, which in the book does not obtrude itself as of being of very vast importance, and you build a play round it with the result rather that you stake and proceed to argue and hypotheses. All the delightful irony and whimsical characterization of your book disappears, and we are left with types more or less familiar to every Theatre-goer, and a plot which I don't think quite holds water. I don't see myself how you are going to dramatize the "South Wind", but I am quite certain that only Norman Douglas, and Norman Douglas alone could do it, if it is to be done. He might require some slight assistance or advice on the purely technical side, though I think difficulties in that respect are greatly exaggerated, especially in the case of a practised writer like yourself. After all, such difficulties have only to be realized in order to be overcome, but in the play you have sent me, an entirely different story has been evolved. It may be your

COMEDY THEATRE

PANTOON STREET, N.W.

UNDER THE MANAGEMENT OF NORMAN MCKINNELL

OFFICE: 800-838-2428
BOX OFFICE: GERARD BARRA

BY REVISED
BOSTON MUNICIPAL
OFFICE

March 8th 1928

Dear Mr. Norman Douglas,

I have read the "SOUTH WIND" by Mrs. Henry Tippett and I think I like it very much. It is a workmanlike and interesting piece of music and I would recommend it to any one who is not familiar with it. Frankly, I cannot see any reason for[illegible] it. I think it is a very fine piece of music and I hope you will excuse the frankness of this letter and regard it as confidential. I don't want to hurt Mrs. Tippett's feelings, and have arranged to see her one day next week, and talk over the play. If my advice can be of any assistance, it is at her disposal. Personally I am not going in for any further managerial activities in the immediate future.

With all good wishes, Yours sincerely,
Norman Douglas Esq.,
c/o T. Cook & Son,
Via Tornabuoni,
Florence.

Curtis Brown Ltd.

INTERNATIONAL PUBLISHING BUREAU.
LONDON, PARIS & NEW YORK.

TELEPHONE: GERRARD 1876 (4 LINES)

TELECRAMS: "AXINITE, RAND, LONDON."

AMERICAN CABLES: BROWNCURT, LONDON.

6, HENRIETTA STREET,
COVENT GARDEN,
LONDON, W. C. 2.

April, 6th, 1923.

My Dear Father.,

You will see by the above address where I am now
working; I am in charge of the Film Department.

I have been discussing "SOUTH WIND" with
Mrs. Tippett, with regard to the question of trying to
dispose of the film rights of her dramatised version of
your book.

She has told me of the agreement between you, in
which you share equally all profits resulting from any
version of "SOUTH WIND", whether it is for stage or films
etc.

If I undertake to write the synopsis suitable for
filming, and take the trouble to try and sell it to a Film
Producer, I should like to know how I stand financially.

10% of the whole goes to the above.

50% of the remainder to Isabel Tippett.

That is to say that should the rights be sold for
£200. (only as an example) £20. goes to Curtis Brown, and
£90. to Mrs. Tippett and £90. to you. What percentage
of your share are you willing to make to me, if I under-
take to try and sell it for you?.

Write me a letter stating it all clearly to me at
the above.

RD/EL.

Curtis Brown Ltd.

TELEPHONE: GERRARD 1876 (4 LINES)
TELEGRAMS: "AXINITE. RAND, LONDON."
AMERICAN CABLES: BROWNCURT, LONDON.

<table><tr><td>IN YOUR REPLY PLEASE<br>QUOTE REFERENCE.</td></tr></table>

May 18th 1923.

Norman Douglas Esq.,
c/o T. Cook & Son,
Via Tornabuoni
FLORENCE. ITALY.

My Dear Father,

In reply to your letter of the 21st April with reference to the film rights of SOUTH WIND, I have written Mrs Tippett on the subject and she quite agrees with you that I should receive a third share of the net results from the sale of the above rights; I am writing a letter to her to the same effect as this.

You will of course understand that we now hold the rights to the filming of your book exclusively.

Are you going to reply to my letter a few short stories which I wrote to you some time ago, and sent to Sorrento?

Your affectionate Son,

6626 Franklin Avenue • Hollywood, California • December 9 1931

My dear Mr Douglas...

It's an outrageous thing to ask so abruptly, but I would very much indeed like to have your permission to market the cinema rights of SOUTH WIND. That is, in the fewest possible words, the reason for this letter.

If you're interested enough to go a little deeper into the matter... For year's I've delighted myself reading SOUTH WIND, and for a quarter of that time I've felt the story had great possibilities as a screen play. It is not an easy thing to photograph, nor is the plot easy to button up in a synopsis, but I do have so very much enthusiasm for the idea I feel certain something could be done with it, and something you wouldn't object to. I dare not promise any action within a limited period of time, but I can promise that the story will not be allowed to trickle into Limbo there to remain for years and years while you wonder what has happened. And what may be done shall only be done with complete and minute attention to your wishes.

The financial side, from my point of view is the usual ten per cent commission in event of a sale being consummated. No sale, certainly no commission.

From your point of view (the sale price) I can hardly promise anything so early in the game, but I feel the story would bring something between two and five thousand pounds. I may be ridiculously uptomistic in saying this, considering the doldrum the cinema is now enjoying, but in any event, I am certain of getting at the very least two thousand pounds...if there is any sale at all.

Of course you realize that in bringing this matter to your startled attention I'm working quite on my own initiative, have had no offer from any company, nor have I mentioned the matter publicly. If and as I obtain your permission to go ahead I have a fairly comprehensive plan laid to put the sale over, but in the meantime nothing will be done without your permission.

As for references: Eric Sawyer knows me, though I can't say how boisterously he would recommend me. I know Liam O'Flaherty too, though not as intimately as I know his wife. Among others there is the painter Edward Wolfe andames Ede who wrote SAVAGE MESSIAH... My literary agent is Mrs Ann Watkins of New York (A D Peters in London I think), and I believe the firm of Pinker would be willing to testify to my honesty, integrity, willingness and general neatness.

I wrote a novel called INTIMATE AGROBATICS in 1927 and its success was hardly remarkable in any way - except that they did print it (Robert McBride and Co. it was)! Another novel TWICE was heartily rejected by a group of distinguished editors because it was based on that excellent legend of Ys and was consequently 'too much like Norman Douglas' to gain me anything save loud critical cries of plagiarism... (I hurriedly reread THEY WENT and was amazed to find that my only theft was the locale. I suppose the editors are born that way: to date I am supposed to remind people of the

works of yourself, Conrad, Ronald Fairbank, Ernest Hemingway, Elinor Glyn, Aldous Huxley and Katherine Mansfield. A noble achievement I feel. At the moment I'm working on a play which ought to add Lonsdale, Coward and Barrie to the list. And all along I believed quite simply that my style was at least individual, quite a thing of my own! I still do, as a matter of truth.)

In Hollywood (returning to references and such) I present material through Miss Mary Virginia Inloes who is highly esteemed and honoured by the Studios, and by a large part of the New York publishing world. For purely personal references I give you that messy organization known as the Fairchild Publications. They have offices practically everywhere outside the Italian hill-towns, and do a bit of publishing in London, Paris, Berlin, Chicago and New York. The only trouble with the firm is that the bother only with the business of cotton, wool, rayon, clothing styles for the world, and other interesting items to tailors. In opposition to this great...er... octopus I've gotten myself a job as associate editor of a very small local magazine called California Life....

But I didn't mean to wander so far from the point. I hope you'll be able to take time to consider this request of mine as it is offered, quite seriously, that is. After the initial shock of my suggestion, I think you may agree that the Cinema of today, with its perfected technique, its increasing restraint, its occasional good taste and discrimination, offers an excellent medium for SOUTH WIND.

I trust this letter doesn't sound like a lot of Ballyhoo by one of the Brighter Young Things!

Norman Douglas, Esq.
DSF/mvi

6626 Franklin Avenue - Hollywood, California - February the 23rd, 1932

My dear Mr Douglas -

Thank you indeed for your very charming reply to my outburst of December the
ninth last. I quite agree we should put a limit upon the time I shall have
in which to market SOUTH WIND : the eight months you suggest ought surely to
produce results of one sort or another. Consequently I say the following :

For a period of eight months, beginning the nineteenth day of January,
1932, I, Donald Stites Fairchild, shall have the sole and exclusive right
to market the cinema rights of SOUTH WIND. If and when any official offers
are made they will be submitted to Norman Douglas for his personal
approval before any final decision is made. However, it is understood
that the purchase price of these cinema rights to SOUTH WIND shall not
be less than Two Thousand Pounds, and as much more as the studio moguls
can be induced to pay. Donald Stites Fairchild, if and as he concludes
this sale, shall be entitled to receive from Norman Douglas ten per cent
of whatever total sum is paid by the cinema people for the above-mentioned
rights to SOUTH WIND. Beyond the matters itemized and recited in this
statement Norman Douglas shall not be held responsible, nor be further in-
volved in any way by the machinations and arrangements of the said

Donald Stites Fairchild.
Dated: February 23, 1932

Signed: Donald Stites Fairchild
Witnessed: MaryDUQUINE Dulaes

##

##

Today I had a chat with one of the larger (though less discriminating)
studios. They were interested in the book, saw distinct possibilities in
it, offered two obstacles as follows: (you undoubtedly have heard of an
organization - presided over by one Will Hays, a small man of great morality-
distinguish
which exists to distinguish between Virtue and Vice for the benefit of All concerned with the making and showing of motion pictures): The Hays office will
not quietly stomach the fact that the Bishop is a bishop. The Hays office
will not be able to condone the tossing of a gentleman, however sinister, off

-2-

a cliff. But I have no doubt but what something could be evolved by which
such dreadful Vice and Immorality could be smuggled past Mr Hays disguised
as Mother Love or the Milk of Human Kindness. Perhaps you have some private
ideas as to how the smuggling might be contrived....

I have not lately read THEY WENT and sonsequently I cannot say finally
whether or no it contains a cinema plot. I have a feeling the studios would
find it too historic, too costume, but I intend to reread it as soon as I can
take the time.

If you have even the vaguest idea for the cinematic version of SOUTH WIND
don't hesitate to let me know it. My own idea is to start with the sirocco,
place the several characters in the middle of it, allow them to work out
their own disintegration or salvation, all following as closely as possible
the lives you have already written out for them. It might be necessary to
build certain events at the expense of others, omit this fact and insert that
fancy, in order to fashion a compact dramatic sequence, but the original
characters will not be changed... One of the studios recently put out a
picture called ARROWSMITH based on the book by Sinclair Lewis. This is, to
my mind, the sort of job they ought to do with SOUTH WIND. It is the success-
ful, exciting dramatization of an abstract emotion, an ideal. Perhaps, in spite
of this dithering of mine, you see what I mean?

I feel the 'contract' paragraph in the first part of this letter will be
sufficient contract between us as to the marketing of your book. When the
actual selling occurs the studios will produce many and varied documents to
be signed, sealed and exchanged. I think your letter is sufficient authorization
of my agency rights in SOUTH WIND : for you I hope my association with Mary
Virginia Inloes (one of the few completely reliable agents now to be found in
these parts) will be sufficient. For the records I have had her sign and
witness the 'contract' paragraph, as you see.

I have not lately read THEY WENT and consequently I cannot say finally
whether or no it contains a cinema plot. I have a feeling the studios would
find it too historic, too costume, but I intend to reread it as soon as I can
take the time.

Page Two

years ago. They told me I ought to have a Name at the
front of it to make it sell, and for purely personal
reasons I can't think of any better name than yours
to start off with, first because Corsica is fairly near
your domain, secondly because it is an island, and thirdly
(I told you this once before) I am supposed to be an
imitator of your style in writing. Heigho, what a lot of
things people ask you when you're famous. How do you
feel about Bright Young Men who ask you to do them
favours?

Sorry to have to
send you a letter full of begging and apologies, but
there is nothing else at hand. I might tell you of the
beauties of San Francisco, which is a small New York, set
down on the shores of the Mediterranean and almost com-
pletely surrounded by the navies of the world. It is a
lovely spot. Even J.B.Priestley liked it here!

Norman Douglas, Esq.
Firenze, Italia

October fifth, 1932

27 October, 1932.

Dear Mr. Fairchild,

Many thanks for your letter of the 5 October.

By all means keep <u>South Wind</u> on your hands for another eight months - that will bring it to next June - and I hope you will be successful.

What you tell me about the popularity of that book in America is gratifying. Perhaps it will interest you to know that my income from it during the last year has been fifty-four dollars from America and £29 from England, and that is all (income-tax still to be deducted from these figures). It makes me think that if each of these numerous admirers would forward me five cents I might find it more easy to get through with life, which at present is a problem, as money is so infernally tight.

As to writing that preface, there is, alas, an insuperable obstacle, namely this: my youngest son, who has just finished a book on London restaurants, begged and implored me to write a preface to it, which I refused to do. Now if he learns, as he certainly would, that I have written such a thing for somebody else and not for my own son, he would be furious with me; and I can't risk that ! I hope you will understand ?

Sincerely yours

27 July, 1936.

Dear Donald Fairchild,

I am much obliged for yours of the 24 June which has only
just reached me, as I have been moving about in places where no
letters could be forwarded.

Very well. Let us keep up our arrangement, as you suggest,
till I january 1937. After that, we'll call it off !

I hope all goes well with you ?

Yours very sincerely

6305 Yucca Street . Hollywood, California . May 23, 1953

My dear Mr Douglas...

Still no good news, and my time extension on South Wind,
is nearing its end. I'm not giving up by any means until
I have to, but this Bank Holiday and the rest of it, has
been doing Things to the so-called industry. In fact, it's
a Hollywood miracle that there still is an industry!

however, two new studios have lifted their new little heads
from the morass, so hope burgeons nicely anew. And there is
a play of mine being put on at the Pasadena Community Play-
house which, for some odd reason, has actors fighting for
parts, which has aroused the interest of Hollywood, which
means I am about to be Talked Of. And once I get Talked
Of.....! So all is not lost.

I have been seeing your name large in the public prints, too,
with numerous compliments attached. So far I haven't been
able to get a copy of the book, but I enjoyed the bits they
ran in the now-expired Bookman. And yesterday, in a shop,
I saw three people pay CASH for your latest work. I mean
to do the same as soon as I get the cash : quite honestly
it seems to be one of the few things lately printed that
deserves to be paid for. I hope you have got a whopping
contract!

Directly there is any news, I'll let you know. I hope to
Heaven I have that pleasure soon!

Norman Douglas, Esq.
Florence, Italy

30 November, 1936.

Eric Pinker, Esq.
Literary Agency,
9 East 46th Street,
NEW YORK.

Dear Mr. Pinker,

"Would you kindly draw up and send to me a draft contract between myself and Mrs. Rella Abell Armstrong of 249 Tigertail Road, Brentwood, California, embodying the following terms (I am quoting from her letter to me) :

"I wish to arrange for an option on the book " South Wind ", covering play and moving picture rights, for a period of one year under the following terms :

The division of the royalties on the play and moving picture royalties to be on a fifty-fifty basis. You to receive fifty per cent for your rights in the story, and I to receive fifty per cent for writing the dramatization of the story for stage and screen production. The terms of the sale of the play and screen rights to a producer to be the same terms, covering royalties, etc., as are provided for by the standard contract of the Authors' League. If it becomes necessary to use an agent to make the sale and contract, the agent's commission, (10%) shall be split between us, you paying 5%, and I 5%, leaving a net balance of 45% each on the total royalties due, from the sale of the dramatic and, or, screen rights."

130 South Cliffwood Avenue
Brentwood Heights, California,
June 30th, 1936

Mr. Norman Douglas
c/o Modern Library Publishing Co.
New York City.

My Dear Mr. Douglas;

For many years I have read "South Wind" at least once annually, with the greatest pleasure and appreciation, and believe the story contains excellent dramatic and moving picture possibilities.

Recently I have made very close connections here in Hollywood with one of the large producing companies, and believe the prospects are very good for my placing your story with this company, who would not only produce the story, but would be instrumental in producing the play also.

Therefore, I wish to arrange for an option on the book, "South Wind", covering play and moving picture rights, for a period of one year under the following terms;

The division of the royalties of the play and moving picture royalties to be on a 50/50 basis. You to receive 50% for your rights in the story, and I to receive 50% for writing the dramatization of the story for stage and screen production. The terms of the sale of the play and screen rights to a producer to be the same terms, covering royalties, etc., as are provided for by the standard contract of the Authors League. If it becomes necessary to use an agent to make the sale and contract, the agents commission (10%) shall be split between us, you paying 5%, and 1,5%, leaving a net balance of 45% each on the total royalties due, from the sale of the dramatic and/or, screen rights.

I hope the above proposition will prove satisfactory to you and that you will be kind enough to let me hear from you at your earliest convenience.

27 July, 1936.

My dear Mrs. Armstrong,

I am much obliged for your letter of the 30 June.

The arrangement you suggest for <u>South Wind</u> will suit me very well, but only after I January, 1937.

Up to that day I am under another obligation in regard to the
same book, but I hope this will not prevent your interesting
yourself in the scheme during the interval !

Yours very sincerely

249 Tigertail Road
Brentwood, California.

November 18th, 1936

Mr. Norman Douglas
c/o Thos. Cook
Via Tornabouni
Florence, Italy.

My Dear Mr. Douglas;

In reply to my letter of June 30th,
you wrote me that you were under another obligation
for the rights of "SOUTH IND. until
January 1st, 1937, but thereafter, the arrangement
I suggested in my letter of June 30th would be
satisfactory to you.

Therefore, I am writing you to ask
if your obligation will terminate on January 1st,
as I am most anxious to complete the play and
and to be in a position to market the play as soon
as completed.

Hoping to hear from you at your earliest
convenience,

I December, 1936.

Mrs. Rella Abell Armstrong
249 Tigertail Road
Brentwood
California.

My dear Mrs. Armstrong,

Many thanks for your letter of the 18 November, and also for the
earlier one of 24 August.

I have written to my New York agent to make out a contract
between us on the lines of the fourth paragraph of your letter to me
of the 30 June, which I quoted textually to him and asked him to
'follow. I'll let you have it as soon as possible.

On the 27 July I wrote to the gentleman who was interested for
South Wind on the screen to terminate my temporary arrangement with
him on 1 January 1937. I have written with this post to confirm
that letter. So pray go ahead !

Wishing you all success,

Yours very sincerely