The lure of the almighty dollar brings two categories of people to our community—those who work and those who prey. Like Hamlin before the Pied Piper, we are infested with rodents, from bookies to con men, from mobsters to panderers anxious to supply anything a paying customer calls for. Difference between us and Hamlin is that we’ve given up hoping for the Piper.
Extortioners have flocked to our town since the notorious reign of George Browne and Willie Bioff, the union racketeers, who, in the thirties and early forties, didn’t even condescend to visit the studios—top producers had to stop by their hotel room and toss on to the bed wads of greenbacks for “protection.”
Now there are only lean pickings left at most studios, and the leeches cling to individual stars. They sucker them into accepting loans to buy the new house, the new mink, the new car, in return for a permanent slice of income. They let them run up bookmakers’ bills at strangulation rates of interest, collectable every payday. By offering fat fees for night-club performances, they entice them to Las Vegas, the sanctuary for birds of prey, and make sure they get back every cent of salary and more at the gambling tables.
Syndicate men have the run of Hollywood society. I don’t know who charms whom more, the actor or the mobster. I understand that “Lucky” Luciano could charm a bird off a bough. Frank Sinatra, who has a weakness for such fragrant characters as Joe Rocco and Charlie Fascetti, of Chicago fame, is fond of boasting: “If I hadn’t made it in show business, I’d have been a mobster myself.”
Bookies used to have priority at studio switchboards when they made their calls to Culver City. Nowadays, Las Vegas soaks up much more floating cash and credit. It’s fashionable in some circles to brag about how much you lost down the drain. Phil Silvers has shed a fortune at the tables. Gordon MacRae has unloaded thousands at one go, so that ever-popular pair of night-club entertainers, Gordon and Sheila MacRae, parents of four fine children, have to smile with every evidence of delight when they find they’ve been booked around the country forty-three weeks out of fifty-two to make ends meet. When Ernie Kovacs departed this vale of tears, he left $600,000 of gambling debts.
The police departments, often reported to be openly cozy with mobsters, have a long record of blinking at other kinds of lawbreakers, provided a nimble press agent can get on to the case in time. Clark Gable, returning home from a party at Paulette Goddard’s after downing too much of the bubbly, banged up his car in a traffic circle, but it was happily announced that a passing motorist was really to blame.
Eddie Mannix has related how it cost a total of $90,000 to keep the reputation of a celebrated MGM star intact when he was caught in the same desperate situation that sent Big Bill Tilden, the tennis ace, to prison as a homosexual.
Studio cops worked hand in glove with custodians of the law outside the studio gates. Some days the telephones of top public-relations men like Howard Strickling at Metro and Harry Brand at Fox rang like a four-alarm call in the firehouse, as police dutifully reported they had this or that star safely locked up for speeding, drinking, or mixing it up in a public brawl.
There’s something heady about driving in Hollywood that got even Garbo tagged twice for speeding. One of the wildcat drivers was Luise Rainer. She had won her Great Ziegfeld Oscar and was going into The Good Earth as the sensation of the industry. For the picture’s sake, the studio conspired with minions of the law to frame her. She’d be arrested, plead guilty, and the judge, primed in advance, would lift her license until The Good Earth was completed. So ran the plot. But a snag developed after the police trapped her; she clung to her innocence and vowed to fight the case in court. So the ticket had to be quashed, and the suppress agents had to ’fess up to Luise. She refused to speak to them for weeks.
Since we live in an age of corruption, almost like the declining days of ancient Rome, with the “interests” digging in deeper all the time, I ought not have been surprised at a campaign to build another Las Vegas right in the heart of our community. The plan was to incorporate a separate little city made up of the Sunset Strip, with its night clubs like Dino’s and Jerry Lewis’ new place, and stretching from Santa Monica Boulevard up into the hills. Like Beverly Hills, which is a town unto itself and an extremely well-conducted one, this new Sunset City, or whatever it was to be christened, would have written its own rules and controlled its own life.
The idea was perfectly feasible, however unattractive. The area involves a bit of no man’s land, bounded by the city limits of Beverly Hills and Los Angeles, yet attached to neither of them. This is county territory. The promoters’ objective, among other things, was to bring in gambling, making it as legal as Nevada. It was a choice location and could be a perfect haven for mobsters.
Among the unsuspecting citizens of the Strip, petitions were circulated to gather signatures as the first step to take the proposed “city” away from county control. Whether or not he realized the implications, one of the sponsors was Bart Lytton, whose modernistic new savings bank stands on the site of the old Garden of Allah at the hub of the territory. It was he who threw one of the biggest parties in Washington, D.C., on the night of President Kennedy’s inauguration, which drew JFK and other members of the family. Even I received one of the gold-engraved invitations, though I’d never met the host.
Our local Citizen-News, which has since changed management, broke the story of what lay behind the apparently innocent moves to make the Strip independent. I got busy in my column and with some letter writing to throw a monkey wrench into the wheels.
I was amazed at the time that my words were allowed to appear, because some exceedingly powerful individuals stood to gain from “Sunset City.” But it worked. Our community had seen too much of Murder, Inc. muscling in, of gangsters receiving the lead-poisoning treatment on the streets. The petitions died from anemia—but I am sure the backers haven’t given up hope or forgiven me.
There was another time when the businessmen of the Strip weren’t so slow to take up arms. In this other affray they succeeded in putting the object of their attention behind bars, but then she was a woman, or even a lady, and a local celebrity. She was a tall, dignified creature with a back straight as a ramrod, who introduced herself to me one day as we sat under neighboring dryers in a beauty parlor. I was happy to make her acquaintance, having heard a great deal about her.
She was a pioneer in her profession by allowing her patrons, including some super-sized stars, to run up bills for their pleasure, whereas cash in advance is, I gather, the almost invariable procedure elsewhere. She accumulated a load of bad bets as a reward for establishing her informal credit plan, though her establishment gained a certain distinction from the array of several Oscars which stood on her mantelpiece, gifts from satisfied customers.
She conceived the ambition of retiring from her former calling and opening an extremely proper and swank restaurant on the Strip. She had the plans drawn up, which envisaged upstairs dining accommodations for private parties, which are not unusual among caterers. She ordered some somber but becoming gowns to wear as hostess. The restaurateurs along the Strip were outraged. They shuddered at the thought that chez elle could well become the most popular, though innocent, port of call for natives and tourists alike. She was denied a liquor license and later arrested.
She had one stanch supporter to turn to—that friend to all womankind, Louise Fazenda, the zany, pigtailed comedienne of the Mack Sennett era. Mack enjoyed working late at his studio so he could chase pretty girls between takes. Louise found the only means of quieting an empty stomach and finding some fleeting peace was to take a sandwich and hide it, ready for supper, in the women’s lavatory.
Louise married Hal Wallis in 1927 and began a new career as an angel of mercy who covered her philanthropies in secrecy. A law student concluded that he’d have to quit school because his girl-wife was pregnant; Louise took up all the bills. She would go out to UCLA Medical Center to feed young children, rock and sing them to sleep. Not all of her charges recovered; she made a special point of seeking out the hopeless, terminal cases because her heart was big and strong enough to pour out its love even when a child was doomed.
And she never lost her sense of fun. There used to be a vacant corner lot next to her small house. At night she’d wander over the ground scattering wild-flower seeds, just for the sake of hearing her neighbors exclaim in wonder that only a blooming miracle could have produced the flowers that sprang up. It was Louise’s sense of humor, matched with the need to teach Hal and his friends a lesson, that brought the stately brothel keeper to the Wallis’ home in the San Fernando Valley.
Hal was in the habit of asking his men friends and associates around for Sunday luncheon to sample his wife’s delicious cooking. Most of his buddies seemed to think this was something too tasty to waste on their wives, so they brought along their girl friends. Finally, Louise’s patience ran out. One Sunday, when the usual crowd had gathered for some home cooking, Louise entered with her own special guest. Almost all the men knew her instantly; some of their companions needed no introductions either. Not a single harsh word was spoken between Mr. and Mrs. Wallis; but from that Sunday on, the husbands started bringing their wives.
Faced with the certainty of a prison term, the madam asked for Louise’s help. “I’ve no place to hide my jewels, my car, and my clothes,” she said, “and they’re all the savings I’ve got left. If the police get their hands on them, I may never get them back. Is there anything you can do?”
“Certainly,” Louise said. “There’s a special stall in my garage to which this is the only key. Drive in there tomorrow, lock the door, and keep the key until you’re free.” That is why, when search was made of the lady’s place of business, there were some mighty mystified investigators around, for they could find nothing. All her valuables were safe in the Wallises’ garage, and when Hal reads this it will be news to him.
Crooks as well as shady ladies like to mingle with celebrities. Bugsie Siegel’s gaudy days and nights as a man-about-Hollywood ended on a davenport in the house at 810 Linden Drive, Beverly Hills, that his dear friend, red-haired Virginia Hill, rented at $500 a month. “Death at the hands of a person or persons unknown,” said the coroner’s jury after the machine-gun bullet holes in his back had been counted, fired (while the watchdogs remained peculiarly silent) through a window.
Bugsie loved to socialize. He’d turn up, dressed to the nines, to take a drink or play poker as the guest of all kinds of people. Every two weeks he came into Beverly Hills to get his hair cut by his favorite barber. Marie MacDonald used to dine in his company at Las Vegas. George Raft appeared as a witness for Bugsie when the mobster went on trial in Los Angeles. Leo Durocher was one of many who knew Bugsie well. The day before he was rubbed out he sent a check for $2500 to the Lou Costello Youth Foundation, a sports center Lou and his partner, Bud Abbott, built on East Olympic Boulevard. The day after Bugsie departed this life, the sun-blackened peddlers who sell maps of movie stars’ homes to tourists along Sunset Boulevard latched onto a new sales dodge with hastily scrawled signs that said: “See Where Bugsie Met His End.”
One old friend of his, Countess Dorothy Taylor di Frasso, was in Europe when she heard the news. “Bugsie, Bugsie?” she said, and eyebrows could be heard arching over the telephone. “Why, I don’t know any Bugsie. Could you mean Mr. Benjamin Siegel?” An amateur gentleman to the final curtain, he would have appreciated the formality.
“I was very fond of Mr. Siegel,” the countess allowed, “but it is utterly ridiculous to say I was in love with him.” A man in her life that she really cottoned to was Gary Cooper. She snaffled him up when he was worn out from too many pictures and too much Lupe Velez. She whisked him off aboard a slow boat to a safari in Africa.
She found our town an unplowed pasture for her type of worldliness, mixing titles with prize fighters and topnotch actors with show girls. At one of her parties she hid a recording machine under a sofa in the hope of picking up some spice from her unsuspecting guests. Jack Barrymore ruined it. He sat there, unknowing, and delivered a monologue of tangy reminiscences about every celebrity who entered, including his delightful hostess. Unaware of all this, the countess grabbed an opportunity to remove the record and summon her closest pals up to her bedroom to hear a playback. After it made a few revolutions on the turntable, she snatched the record off and smashed it on the floor.
Bugsie’s darling, Virginia Hill, who’d given him a gold key to the house on North Linden Drive, was in Paris when she got word that he had turned his back to a window for the last time. “It looks so bad to have a thing like that happen in your house,” she said when she’d dried her tears.
Some months after this I was dining at a left-bank restaurant in Paris with Lilly Daché, her husband, and Jean Daspras, a struggling young French designer who was about to open his own dress salon. After coffee he took us up to his roof-top garret to show us some of his sketches. There he told us about an American, a friend of his, who had recently arrived at the place with a tightly wrapped shoe box.
“Please don’t open this,” said the visitor. “Just hide it somewhere and forget it.”
Six months later the same American returned for the box, which the young Frenchman had kept hidden under his bed. As a favor, he was allowed to take one look inside before the caller departed. It was filled not with shoes but with jewels—hundreds of thousands of dollars’ worth belonging, so the American said, to a woman named Virginia Hill; but who she was, Jean Daspras had no idea.
Bugsie had his finger in a lot of pies. He was trying to corner the bookmaking business as far east as St. Louis. In Los Angeles, Reno, and Las Vegas he was cramming his race wire, known delicately as “Trans-American News Service,” down the throats of bookies. He had his own bookie joint at Guy McAfee’s Golden Nugget in Las Vegas.
Siegel also had set up a milk route, as he called it, for running raw opium, which is a popular crop in Mexican fields just south of the United States, to cookers in Tijuana. There it was prepared for a further trip across the California border, for distribution and sale in Los Angeles. Rumors flew around that Luciano was sore at the competition Bugsie was giving him and had warned him to stay out of opium smuggling. Forty-eight hours after the gang had lost its boss, border patrolmen were battling smugglers near Calexico and confiscating thousands of dollars’ worth of opium destined for Los Angeles.
Bugsie was a big man in Vegas. He was president of Nevada Projects Corporation which operated the Flamingo, a sprawling, hectic-hued hotel and gambling joint built spang in the middle of a scrubby desert at a cost of $5,600,000. He started in as vice president when Billy Wilkerson was president.
Billy was a dapper operator who used to run two plush Los Angeles restaurants, the Vendôme and the Trocadero, later the Mocambo and Ciro’s, then opened a fancy haberdashery and barbershop. When they failed, he started as publisher and editor of the Hollywood Reporter. His greatest claim to fame is that he discovered Lana Turner sitting on a drugstore stool, playing hookey from Hollywood High School. He sold out his interest in the Flamingo to Bugsie and was on vacation in Paris when the machine gun opened fire outside 810 Linden Drive.
Bugsie had lost a fortune running the Flamingo and was struggling to save it from foreclosure. One police report had it that he owed $150,000 to an eastern gangster. The police also had a shrewd idea that he was behind some mighty big jewel robberies in our town. Earl Warren, our governor at the time, made the expected statement of the obvious: “One lone gangster coming to California from another state where he was a power doesn’t mean much, but when he becomes connected with narcotics, gambling, bookmaking, and jewel and fur thefts, he becomes a dangerous article.”
Whoever knocked off Bugsie got away with it; his murder has never been solved.
One inevitable suspect was questioned but set free. “I don’t think anybody’s gunning for me,” said slippery Mickey Cohen, who has more friends among the movie makers than Bugsie ever dreamed of. I accidentally found myself sitting at the table next to Mickey in the Mocambo one night. He had a party of ten that night, including Florabel Muir and her husband, Denny Morrison, plus a guard sitting at each corner with the usual bulge under his coat that denotes the presence of concealed artillery.
I called over the captain. “I refuse to sit next to gangsters.” Florabel turned around. “But they’re not gangsters,” she said.
“They certainly look like gangsters to me,” said I, and was given another table in double time.
Mickey, who was finally sentenced to San Quentin for income-tax evasion, wheedled his way into a friendship with Red Skelton, a sentimental, unpredictable man whom I admire very much. Red was a soft touch for Mickey; lent him money; took him into his home, together with Janet Schneider, a Cohen protégée whom Mickey eventually succeeded in getting onto a Jerry Lewis television show. He tried to sell Red the idea that he should play himself in a movie version of his incredible life story.
Red survived the depression of the thirties as a marathon dancer around Bayonne, New Jersey. He managed to stay on his feet sixty days at one time to win enough money to keep body and soul together, though not very tightly. He worked as a circus clown—his father was one, too—and he’s never lost that quality in his nature, a sympathy for the underdog, an ability to picture all human frailties.
Not that he’s slow with a wisecrack when the magic moment comes. Like the day I went to see him in the hospital soon after the last inauguration. We talked about how much Frank Sinatra had given of himself to stage the inauguration party for the President. “What can Kennedy do to repay Frank, the man who has everything?” I asked.
Red paused to consider that for a moment, then grinned: “He can repeal the Mann Act.”
Red’s an Abraham Lincoln Republican. In fact, he’s one of our country’s foremost experts on our greatest president, and he’s got a Lincoln library that stirs your soul. During a lull in rehearsal at one of his television shows on which I was appearing, we decided to try to convert some of his crew to our brand of politics. We both made stump speeches and got a good round of applause. “I don’t think we changed anybody’s mind,” I said.
“Maybe not,” he answered, “but we gave ’em something to chew on, anyway.”
He begged Gene Fowler to cross the Atlantic as his guest when he opened at the Palladium in the summer of 1951, following Danny Kaye, who was cutting it up all over London town as a buddy of Princess Margaret. Gene, an old Hearst reporter and once editor of the New York American, went along, principally to fend off some of the bites of the sharp-fanged British press. He wrote to me:
Dear Sweetie:
This is the old man’s last long journey anywhere except perhaps to the cemetery. Every citizen should be compelled by law to take a trip abroad—all expenses paid—so as to know how to vote.
Skelton is a big hit at the Palladium notwithstanding all manner of handicaps. It is a hot June with all kinds of sports events going, and Danny Kaye failed to introduce him (as is the hitherto unbroken tradition) on Sir Danny’s last night at the Palladium. Tell me, honey, is it possible for any man to be bigger than himself? And is momentary glory too precious to be shared with a fellow American and a fellow trouper? It is quite true that we cannot share personal grief, but we can and should share happiness or success.
Gene
P.S. It is not true that I have been knighted.
When they got back, Red bought Gene a car to say his thanks, but Gene would have none of it. He clung like a limpet to his ramshackle jalopy, growling: “I didn’t go to London with you for a present, but because I’m a friend.”
Gene wasn’t around to help when Red and his wife, Georgia, took their son, Richard, on his last, long journey to see the world after doctors at UCLA Medical Center told them the boy was doomed with leukemia. The British press venomously accused Red of publicity seeking in taking Richard to see the Pope. The boy read the papers and realized for the first time that his illness was fatal. Wounded to the heart by the stories, Red brought his family home to Brentwood, to wait for the inevitable. Gene was one of the pallbearers at Richard’s funeral. Mickey Cohen was among those at the ceremony.
I was working in a television studio next to Red’s soon after that day. In the corridor he said shyly: “Do you suppose you could do something for me, Hedda?”
“Anything, Red.”
“My wife is mourning, just as I am. I get home tired from working and burst into tears, and so does she. She says everybody knows how I feel but nobody thinks of her. Could you write something about her, how she’s having a bad time, too?”
Four years later Red has been unable to shake off his melancholy. He sits by the hour in his garden rather than go into the house, which holds too many memories. Though he’s earned enough to make him a millionaire, he has gone through so much money—diamonds for Georgia, gifts to friends—that he has been compelled to sell the $3,500,000 TV studio he bought in hopes of becoming a big producer like Desi Arnaz. His health isn’t good, he sleeps poorly. Yet before the cameras or on a night-club stage, he’ll work hard enough to break his heart—and put a chip or two in yours.
* * * * *
Mickey Cohen had another friend among the comics in Jerry Lewis, whom he tried to set up as producer of Red’s movie life story. Jerry was another who lent Mickey money: $5000 with no security “because he needed help.” In his Martin and Lewis incarnation, Jerry came from playing night clubs in Philadelphia, where the majority of clubs are controlled by Frank Palumbo, no stranger to the racketeers.
When Dean and Jerry first appeared at Slapsie Maxie’s in Hollywood, every studio in town tried to sign them. It was Hal Wallis who succeeded. Incidentally, in their days together, Dean and Jerry had an admirer and occasional companion in the junior senator from Massachusetts. In show business language, they found John F. Kennedy was a square John who seldom caught on when they were kidding him. Jacqueline hadn’t yet come into his life. The girl he was most gone on was Helen O’Connell, who delivers warm jazz with a genteel air.
Before Dean and Jerry could start work for Hal Wallis in movies, they had some more night-club dates to fill, including one in Philadelphia. They were joined in that City of Brotherly Love by the actress wives of two of our better-known Hollywood personalities, one of them a woman who had dragged her patient husband to Slapsie Maxie’s night after night to ogle Dean. If you can prevent catastrophe, you’re bound to give it a try. So when I found out what was going on in Philadelphia, I went to see Hal Wallis.
“Unless you nip this in the bud,” I said, “you’re going to start your first Martin and Lewis picture with a couple of divorces to contend with.”
Hal was petrified. “What can I do?” he pleaded.
“Stop it before the news gets out.”
He called his partner, Joe Hazen, in for consultation. “How would you handle the situation?” they both asked.
“Telephone the boys right now. Tell them that unless those women get out of Philadelphia immediately, you’ll cancel the contract. And tell them why.”
Hal liked the idea. I sat by his desk while he made the call, and two foot-loose actresses caught the next available plane from Philadelphia to New York.
There is a New York night club with a deserved reputation for high-class entertainment called the Copacabana, formerly conducted by Jack Entratter, who became the impresario of the Las Vegas Sands, and Monte Proser, who went on to operate Broadway’s Lanai. For some years the Copa has enjoyed the services of Jules Podell, who has a gravel voice and a sharp temper.
Not long after the Martin and Lewis breakup Jerry was visiting New York to do a television show, while Sinatra was appearing at the Copa, drawing such crowds that they waited outside in the winter cold for hours in lines that stretched halfway around the block.
Jerry had played the Copa with Dean some three years earlier and quarreled briefly with Podell in the course of the engagement. One day Frank came down with an occupational sore throat, and Jerry agreed to substitute at the Copa for him, though he had no formal act and hadn’t played a night-club date alone since his parting from Dean. He appeared that night ad-libbing like crazy, but that was the last time the Copa ever saw him.
Jerry had a press agent who knew the Copa and Podell well. In a previous job, when he’d had his own public-relations business, the agent represented the place as one of his clients. The agent was in the bar one night watching Podell, in his overcoat, ushering in the customers to the restaurant and floor show downstairs. “You’re doing fantastic business with Sinatra,” the agent said admiringly.
“I need you to tell me?” snapped Podell. “Get the hell out of here.”
The agent snapped right back. The two fell into a shouting match, which ended with the agent spitting at Podell and walking out the front door, back to the Hampshire House suite where Jerry was staying. There was no satisfying Jerry until he’d heard the full account of the set-to. By now it was after midnight, but Jerry picked up the telephone to get two vice presidents of MCA out of bed, with a summons to meet him at ten o’clock the following morning at the Brooklyn studios where he was rehearsing his television show.
The pair of them showed up on the dot. They knew Jerry had a contract for a future appearance at the Copa. “I want you,” he ordered, “to write Mr. Podell a letter saying I will never appear, never set foot there from now on. You can say I don’t give a damn what pressure they try to put on me. I told Podell years ago if he ever talked nasty to any one of my people or laid a hand on one of them, he’d see the last of me.”
Over the next few days Jerry had some interesting telephone calls from all kinds of people promising to straighten things out with Podell. Jerry had a stock answer: “Not if I live to be a thousand will I talk to Podell. Nobody should look to get lucky with me. I’m not going into that place—ever.”
He made that decision stick. One side of Jerry knocks himself out to have people like him. The other side includes a mind like a steel trap; when he says no, he means not bloody likely. He won’t run away from a fight, but he shies away from people who frighten him intellectually because they’re better educated than he is. He’s the son of show-business parents who left school in the tenth grade after swatting a teacher for saying: “All Jews are stupid.”
He makes $3,000,000 a year, and he can’t stand it. Money is something he disdains. He is probably the one entertainer in our business who has never struck out in a movie, and he’s been twenty-six times to bat. Does he have any ideas why? You bet your life he knows exactly:
“I appeal to the kids and ordinary people who spend all their lives under the thumbs of authority and dignity. And I appeal to children, who know I get paid for doing what they get slapped for. I flout dignity and authority, and there’s nobody alive who doesn’t want to do the same thing.
“No matter how high you go, there’s some schnook up over you. Any General Motors vice president, for example, thinks he can do a better job than the guy above him, except he’s down here and his boss is up there. I’m getting even for every little guy in the world. I’m the kid who throws snowballs at dignity in a top hat.”
Jerry, who’ll do anything for anybody he likes, once agreed to fill in for Sammy Davis, Jr., in Las Vegas, because Sammy wanted a few days off over Christmas in Aurora, Illinois. When I got the tip, I realized the fat was in the fire. It happened that Kim Novak was also spending the holidays at her sister’s house in Aurora.
Now Harry Cohn of Columbia, who made Kim everything she is today, had been getting trouble from her. Her favorite weapon was to date men that Cohn detested, either for personal reasons or because they clashed violently with the carefully fostered image of her as a sweet, friendly girl from Chicago. Sammy was a heavy date. I’m sure he occupied quite a few pages in the oversized diary which she keeps in code and carries around with her all the time.
Kim was a girl tied hand and foot by her Columbia contract: “I haven’t got enough money to invest,” she told me one day. “I’ve been under contract on a straight salary for six years. When I’m loaned out, I don’t get anything extra—the salary goes to the studio. On Man with a Golden Arm, I was promised a percentage of the picture, but I guess they forgot somehow.”
“You never got a bonus?” I asked.
“One time before Vertigo my agents got me a sort of bonus. They got me a special loan at seven per cent interest for a year so I could buy my house. But I was on my old salary schedule.”
“Don’t you collect for TV?”
“I can’t do TV.”
The house she bought on Tortuosa Drive in Bel Air cost her $95,000. It contains an all-blue bedroom, an all-purple study, an all-gray living room, an all-gray sleeping porch, and a pool where she swims wearing a straw hat. She gets along without a housekeeper, cooks a big pot of chi