book one:

Norman Allan
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Norman Allan : the story for Ezra

book three: towards joy
chapter four

the 2nd most beautiful book ever

Ted Allan in Spain: the movie
a (conceptual) graphic novel








  Oh dear:
Mark has just
unloaded a load
of expletives
on me. I may have to take his (art) work out of this conceptual work

oh! i bet the
"infringed property" snit concept (IPSC) trumps that...

the IPSC is to
write IPSC on
the TAiS cover



Ted Allan in Spain:the movie
a graphic novel

TAiS is a conceptual book, is the second most beautiful book I ever... hmm

here is the front cover




the most beautiful book I ever saw was Audrey Beardsley's Morte d'Arthur


I found a copy in a Lewis second hand book shop,
in the 60s...
          I gave it to my love

But TAiS is the second most beautiful book...
      still only a concept...

If you have been reading this memoir, NA:tsfE,
you'll know that I think that Mark is very
ambivalent about the progect, and the
representation of his "rough drafts",
so my concept of the book may never be published,
but for what it is worth, in my story for Ezra,
here it is sort of a digital conceptual version.

We were days from Mark sending out the package...
      This was his teaser.... below





    so as you will know, I published the text, P.O.D., on amazon's createspace (click here, and you can purchase the paperbacked text of TAiS) ... and now I, going to try to paint a picture of the book, TAiS, the graphic novel. It starts, as you know, as a script... no, it starts with an introductory blurb...

Ted Allan in Spain: the movie

an historical novel by

Norman Allan

the skinny: …

January 1937: Ted Allan turned 21 and readied to travel to Madrid to report on the Civil War for the Daily Clarion, the Canadian communist newspaper, and to work with his mentor, Norman Bethune - but Fred Rose, the Party Leader, has neglected to tell the Clarion...

To get to Madrid was an imperative. Ted Allan enlisted in the International Brigade; traveling to Spain with 26 other North American volunteers... The Brigade sends Ted to Madrid to report... on Bethune! We learn that all 26 of Ted's traveling companions were dead within six weeks.

Ted tangled with a bitter, and envious, Ernest Hemingway. (Ted had been seen kissing Papa's bride to be.)

Ted meets with Robert Capa, the war photographer, and his companion, Gerda Taro. In the movie, when Ted is troubled about how to handle "the problem with Bethune", Gerda suggests to Ted that he send Bethune to China.* Ted sends Beth back to Canada, and on ?

Capa leaves Gerda in Ted's "care". Of course Ted falls in love. Ted and Gerda visit the front to report on the battle of Brunette

Will the cub reporter from Canada and the lovely war photographer survive the battle of Brunette... ?

* in the book, ",,,: the movie," we will learn that this is not true is just a fiction of the movie… a Hollywood plot**
** subplot? piece of shtick I think it is quite cute


an historical novel by

Norman Allan




Ted Allan in Spain:
the movie

a graphic novel
first draft












for John Lenthier
and all who died fighting fascism





Heart of the heartless world,
Dear heart, the thought of you
Is the pain at my side,
The shadow that chills my view.
The wind rises in the evening,
Reminds that autumn is near.
I am afraid to lose you,
I am afraid of my fear.
On the last mile to Huesca,
The last fence for our pride,
Think so kindly, dear, that I
Sense you at my side.
And if bad luck should lay my strength
Into the shallow grave,
Remember all the good you can;
Don't forget my love.

John Cornford

1915 – 1936



Actually, this book, Ted Allan in Spain: the movie, is an historical novel.
But, I want you to think of it as a film, as a movie, so we'll start in script form.

(Note: every pair of even and odd, facing, pages might have a cell of a "story board".)

And we might boast of our movie stars…


starring                              Ernest Hemingway
                                           Norman Bethune
                                           Robert Capa
                                           Gerda Taro

and introducing…             Marlon Brando as Ted Allan


The first draft runs thus…











Ted Allan in Spain: the movie


Norman Allan









                                                                                           Norman Allan
                                                                                        555 Raven Rd.
                                                                                        Toronto Ont.




                      NORMAN (V.O.)
          Ted, tell us about your time in Spain,           in the Civil War.





An ASSISTANT leads TED through a small newspaper news-room. (And perhaps this is in black and white to put us in a 1937 frame of reference.)

                      NARRATOR (V.O.)
          Originally, I thought I was going to go           as the Daily Clarion's war correspondent.           The Clarion was Canada's communist           newspaper. January 1937.I went up to           Toronto to pick up my credentials."

Ted Allan (the ideal casting would be a young Marlon Brando, with an Anglophone Montreal accent)… Ted is shown into the editor's office. Leslie Morris, the Editor, rises to greet him

          Ted Allan, cub reporter… Sorry, our rising
          star Montreal reporter. Great to see you.
          What brings you to Toronto?"

  so I have this sort of Jimmy Olson (?) at the Daily Planet concept of a newsroom




          Ted Allan, cub reporter… Sorry, our rising
          star Montreal reporter. Great to see you.
          What brings you to Toronto?"

          And now special war correspondent, I           thought. I thought I should talk with
          you before taking off.

          War correspondent? I don't understand.

          I'm going to Spain.
                      (he pats his pocket)
          Passport. Ticket. Sailing next week. I've           beenplanning this with the Party, with           Fred, Fred Rose. He told me, several
          times,that he'd talked to you.

          Fred Rose, The Party Chairman, that is,           mentioned the possibility. "Ted might,"
          he said. He seemed to be just floating a           balloon. He did not say, "Leslie, Ted is
          going. The Party wants you to send Ted
          Allan.He just speculated. And, if you had           arrived here yesterday morning, I'd have
          said,"Fine," and you could have gone as
          the Clarion's correspond- dent, but           yesterday Jean Watts, from New York, came
          in and offered to dispatch to us from
          Spain.So now she's our Madrid

                      in disbelief)
          I checked this, I double checked this with           Fred three, four time over the last weeks.
          He said he'd talked to you.

          That's our chairman.
                     (Leslie Morris shrugs again,)


the story board cells,
I don't necessarily know
how they go


there might be many
story boards, after all
it is a graph novel





TED ALLAN and FRED ROSE are standing facing each other in Fred Rose's office, Ted talking with passion.

          You said you'd spoken to him.

          I spoke to him a while ago. I told him you
          wanted to go.

          I've got my passport, ticket, said my

          The Party needs you here in Montreal.


          I'm going to Spain.

          The Party wants you here in Montreal.

          I've got my passport, ticket, said my



          The Party needs you here in Montreal.

          I'm going to Spain.

          The Party wants you here in Montreal.

          I'll join in the International Brigade.

          You'd die in the trenches.

          I'm going to Spain. I'll enlist.

          If you insist, you will die in the




DISSOLVE TO MONTAGE: two old trucks crossing the Pyrenees.

ROLL CREDITS: "Ted Allan in Spain"

                      NARRATOR (V.O.)
          We came over the mountains, into Spain,on
          the backs of two old trucks. Twenty young           Americans, seven Canadians, new recruits
          to fight fascism.

CREDITS: Starring Ernest Hemingway

                      NARRATOR (V.O.)
          Wrapped in blankets: January 25th,1937.
          Coldenough. My twenty first birthday. Me,
Ted Allan. A volunteer. Spirits high,
           scared: Life on the line.

CREDITS: Dr. Norman Bethune

                      NARRATOR (V.O.)
          Sure. Like Fred said, we were all probably           going die, but the fascists, the Nazis had
          to be stopped, whatever the cost.

CREDITS: Robert Capa




MONTAGE: flatbed at the back of a truck with about a dozen young men hunkered together. And one woman, Jean Watts, the reporter now for the Daily Clarion in Spain. We hear the trucks engine laboring as it climbs the mountains.

                      NARRATOR (V.O.)
          The trucks groaning round hair-pins. Night           falling.Sleeping out in the open.           Shivering till sleep.

CREDITS: and Gerda Taro

                      NARRATOR (V.O.)
          Then cross rolling lands and plains.           Couldn't see much from the back of the           trucks. Finally to Albacete, the staging
          centre for the International Brigade.           Billeted on the floor of a large room,           hall, they called it a barracks. An old           factory? In the night the planes came.
          German? The bombs fell."

SOUND: cacophony of bombs exploding.

CREDITS: and introducing: Ted Allan

MONTAGE: the volunteers, TED included, digging in the smoldering ruins of the bombed apartments of Albacete.

                      NARRATOR (CONT'D V.O.)
          We joined the rescue teams. Digging
          through ruins.I helped unbury a child,
          a boy, maybe four years old. Still warm,           but broken, still, lifeless.

MONTAGE: TED cradling a dead child.

                      NARRATOR (CONT'D V.O.)
          I'll write about this," I heard my self
          say. "Don't be a creep, a phony!" I
          chided myself,but I already had a title:
          "This Time a Better Earth".
              Did I sleep on the hard floor a few
          hours near dawn? Maybe.





Two hundred young men stand in a ragged line, in
the empty arena. They are being inducted into the International Brigade. They are already in uniform.

COLONEL KERRIGAN, with HIS ATTACHÉ, is reviewing them, interviewing them one by one.

                      NARRATOR (V.O.)
          Any of us who could drive a truck or ride
          a motor-cycle got assigned to transport           or communications. The rest of us were
          canon fodder."

Kerrigan is addressing JIM LENTHIER who is next
to TED

          And what were you doing back home?"

          I ran a theatre company. I'm an actor. A

          That's wonderful. Perhaps when things
          quiet down,you can organize some           entertainment for us. We'll try to keep
          in touch.




Kerrigan moves on to face the next recruit. Ted.

                      NARRATOR (V.O)
          Kerrigan probably thought to himself, how
          quickly they die here, our artists, our           writers, as he turned from John to me.

          Your name?

          Ted Allan.

          And what were you doing before you came

          I was a reporter. With the Daily Clarion,
          in Montreal.

          We've lost so many writers. Cornford, Fox.
          Do you know their work?

Ted nods and pulls a slim book from his back pocket. He shows the book to Kerrigan while he, Ted, recites.

          INTO THE SHALLOW GRAVE; REMEMBER ALL THE           GOOD YOU CAN…" Cornford, of course. It's           as though he knew. I guess we do.

                      (pauses to think)
          I think I'm going send you to Madrid to
          report to, to report for the Brigade           there."




          But my comrades…

          Your objection is duly noted. And
          commended. Report to the officer's mess.           We'll sort you out there later.

Kerrigan moves on to the next volunteer in the line.


Ted is sitting at a table writing notes. Kerrigan comes in with GEORGE MARION. They join Ted.

          Ted Allan. This is George Marion, a
          reporter for the London Daily Worker.           Ted's from Montreal, Wrote for the…
           What's it called?

          The Daily Clarion, but I'm not their
          correspondent here. I've got credentials           with the Federated Press, the union
          news-service. Small fry.

          You're from Montreal. Do you know Doctor

          Yes, of course. Actually, I was going to
          go and work with him and the Blood           Transfusion Unit,when I thought I was           coming over for the Clarion. I know him           well.

          There are disturbing rumors coming out of
          the Unit. They say that's a Civil War in           itself, as good as.




          What sort of rumors?

          Any number. Bethune fights with the
          Spanish doctors. Bethune drinks.

                      (to Ted)
          So perhaps you can go to Bethune's Unit
          and report on it, report on it to the           Brigade; report on the situation to           Comrade Gallo in Madrid. Can you do           that?

TED nods. Mouths yes.

          May I also report to Bethune and to the
          Canadian Party?

          If you wish, perhaps. Speak to Comrade
          Gallo about that.
                      (to his attaché)
          Write out a pass to Madrid for Ted Allan.





Driving through the night with no lights. Ted in the cab with the driver.

                      NARRATOR (V.O.)
          I came by truck, again, from Albacete.
          This time in the cab. Arrived in Madrid           exhausted.

                      NARRATOR (V.O.)
          The Blood Transfusion Unit was housed in
          a recently abandoned mansion in a wealth
          Madrid suburb, a neighborhood untouched by           the war. A palatial mansion with its own           grounds. The fascist didn't shell their           own abandoned houses.
               Beth greeted me warmly, hugging me,
          embracing me, laughing at the way I looked           in my International Brigade uniform.



BETH indicates to TED to turn round, to spin round, which he does.         

                      NARRATOR (V.O.) (CONT'D)
          I couldn't stop my sudden weeping. With
          in minutes he had me sitting at a huge           dinning table: coffee, rolls, and
          terrible tasting margarine!

          So how come you're in uniform and not here
          for the Clarion?

          Fred forgot to phone Toronto to tell them.

          Our infallible leader. But in that case,
          why aren't you at the front?

          When I mentioned I was a reporter.

                      TED (CONT'D)
          It's a long story, Beth. The Brigade wants
          me to find out what's happening here, in           the Unit. They've sent me to report, and
          I guess that means assess what's           happening in some way.

          To spy!




Ted nods, smiles - a boyish, totally open grin.

                      BETHUNE (CONT'D)
          Well someone should find out what's going
          on here. That's it! I'm going to make you           commissar, political officer, for the           Unit. You find out what's going on here           and report to the Brigade,to the Party,           and to me, face to face.
               I personally think that Doctors
          Culebras and Gonzalez, the Spanish
          doctors with the Unit, are fascist           sympathizers. I think they are trying to           sabotage the Unit. But you'll find out.
               Political officer, Commissar. I think
          the rank of Colonel might go with that.           But enough. Let me show you your room.           You'll stay with us here, of course. And           I'll introduce you to the team. Here,
          bring your duffle bag.

















I am going to move from a script format to a prose format. I think that it is easier to read, but remember, I'm still describing "Ted Allan in Spain: the movie."

We fade in on a government office where Ted is meeting with comrade Gallo. Indeed, the narrator tells us: "Next day I met with Comrade Gallo. Gallo was the nom de guerre of Luigi Longo, one of the leaders of the International Brigade. From Italy, the illegal Italian party. He had help set it up the Brigade and now bore the title of Inspector General. We exchanged pleasantries, and I briefed him, very briefly, on the Bethune, Blood Transfusion Unit, issues."
          Ted tells Gallo, "There isn't much I can report yet. The Unit isgeared up to deliver blood at the front. They've been doing that. But Bethune is a free spirit. Beth thinks that the Spanish doctors are collaborators, saboteurs."
          Gallo speaks fluent English, but with an Italian accent. "Comrade Bethune is doing great work for the cause here in Spain. But war is difficult for everyone. A little drinking, a little tension, a little paranoia, is to be expected. You watch. Observe. Be his friend. Sul serio. I mean that sincerely. Keep us posted. Take your time."
          "There another matter I'd like to discuss," says Ted. "I'm wondering if it would be possible for me to broadcast, report on radio from Madrid to North America."

When Mark was working on illustrating TAiS one of the "roughs" he produced was the following layout (with a vignette). I think it is beautiful!


"That would be for Spanish government, for Constancia de la Mora, to decide. She's head of the government's press bureau. We will have to send you to Valencia to talk with her about that. First find your feet here in Madrid. Find out what's going on with the city, with the war… with Bethune."
          Ted, "And I wanted to ask about my status, my rank, my roll in the Brigade."
          "You'll report to me. You needn't wear uniform. You'll be a reporter." Gallo consults his notes. "You have your Federated Press credentials. File your stories, your dispatches with them. And you will be a medical worker, volunteer with Bethune. Dress for your work. If you are his political officer, that would be a matter for the Canadian Party. Nothing to do with the Brigade. For the Brigade you will aid Bethune, and report. Serve the people."

Ted returns to the Blood Transfusion Unit. There is a lot of commotion, bustle around, people busy, scurrying round. Among these we might recognize Jean Watts.
           Bethune notices Ted and shouts, "There you are. There's a battle on the Jarama, just east of the city. We'll be going first thing in the morning. You've met Henning Sise?" He indicates a tall, patrician-like, young man. Henning, a Finnish-Canadian, has been working with Beth from the start. Standing next to him is a gorgeous, tall, blond woman. Bethune continues his introductions, "And Ingrid. Ingrid, this is Ted."
          Henning excuses himself, lifts a box from the table, and walks off.
          And Beth continues. "Ingrid's a reporter from Stockholm with the Svenska Dagblatet." He accentuates the words in an attempt at a Swedish accent, and repeats, "Svenska Dagblatet. She's doing an interview with me on the Unit."



          "An in depth interview," says Ingrid. She has a sunshine rainbow smile. And she winks.
          "Dr. Culebras' sister is scandalized that Ingrid's sharing my room," Beth points. In the background we see a middle-aged nun carrying a box through the office. "But I too am catholic, and I say that it is good for my morale!" There is a sound of breaking glass and commotion in the other room. "Wait a moment," say Beth, hurrying towards the door. Ted and Ingrid follow.
          In the other room, Dr Culebras has been packing a crate with bottles blood and has dropped one, broken on the floor, blood everywhere.
          "Idiot." shouts Bethune.
          There is a shocked silence.
          "Yes, an idiot is a dolt in any language,but," says Bethune, addressing Culebras, "you're either a fool or a spy, and I'm giving you the benefit of the doubt."
Culebras retorts indignantly in Spanish. The sister glares at Beth. Bethune chastises her too. "Hungry people gave their precious blood for their sons, for their brothers at the front. Sloppy, fat, well fed people are spilling it." Beth huffs, puffs, and turns and walks away. He turns back to Ted and says softly over his shoulder, "Ted, come with me. I want to show you something."
          They walk to Ted's room. There is a portable typewriter on the table by the bed.
          Beth: "I noticed you writing long-hand, and that you didn't have a type writer. That's was fine when you were going to the trenches." He pauses a beat. "But a writer needs a typewriter."
Ted, jaw-dropped, looks at the typewriter.
          "You need it more than I do," says Beth. "We've got three typewriters in the office."




         "Oh, Beth." Ted is breathless.
          The narrator, voice over: "Sometimes Beth was like a father to me. And sometimes he drank."

Beth and Ted walk back to the offices. Bethune pours himself a large shot from a liqueur bottle. He indicates for Ted to help himself. Beth walks towards the room with the spilt blood. Looks in. Ingrid and Henning are mopping up the broken glass and blood.
          Bethune raises his voice. "You shouldn't be doing that!" Then he bellows. "Culebras! Come and clean up your mess!"
          Ingrid and Henning continue their cleaning. Bethune turns to leave the room. Slams the door behind him.




Cut to: the road to Jarama. Ted, Bethune, and Henning squashed in the front of one of the Unit's ambulances - a modified station wagon with a large, loud refrigeration unit in the back. They've been driving through the countryside outside Madrid. Prosaic and idyllic. Quiet and peaceful. Ted, though, is anxious. Bethune chatters, talks of bringing the ambulances into Spain.
          "So Henning, here, and I drove the two ambulances down from London in November, was it? They sailed over the Pyrenees. And they're doing the job."
          Ted: "Beth, you're sure you know where we're going?"
          Bethune: "Relax."
          Two bullets shatter the windscreen just over Bethune and Ted's heads. Ted dives for the floor of the ambulance. Bethune gently, serenely, brings the vehicle to a stop. Henning opens the door before they have fully stopped. He jumps out and dives into the ditch beside the road. Ted scrambles to follow, tumbling into the ditch on top of Henning.
          We see a close up of Ted's face showing surprise.
          Bethune continues, "They'll see our medical insignias, the Socorro Rojo, Red Cross, and just take us prisoner."




          Ted turns to Henning and asks sarcastically, "Is optimism useful or crazy in war?"
          There is a tense wait as the Italian tank continues to approach. And then from out of nowhere, a Republican tank appears, and another, and a third, and the Italian tank turns and trundles, at a pace, away.

      "Without optimism," says Bethune, "people are hopeless. Lost."


* * *






I want to establish a dialogue between the narrator and a second voice, which might be mine, talking to Ted (Ted the narrator). This second voice over is the author's voice, Norman Allan, I'mTed Allan's son. Can I get away with this, this new voice? Ted would say, "Just try it. Write it. Get it out. Get it down anyhow. It doesn't have to be perfect. You can always edit."
          The problem here, the reason for this "aside", is that I can't envisage the field hospital, the medical unit at the front. (And we don't have the budget yet, in our film project, to hire researchers. And also I may want to use this devise later. We'll see…)

The field hospital is a hive of activity. The sounds of war are in the background. They are present, but muffled. For me, the author (not the narrator), the closest I've been to this scene are visits to first world hospitals, and scenes from the movie MASH, but the field hospital is not modern, and there is no humour. Bustle and pain. Hurry, scurry, wait.
          Bethune, assisted by Henning, is focused on delivering blood transfusions to those in need. They've triaged. Now they are setting up the apparatus. We watch as Bethune inserts a hypodermic-needle into the arm of a young soldier who is missing a leg. A bloody bandage. Moaning softly, muttering, "madre mi madre." (That's Ted's dialogue, so I'm betting it's authentic.)
           We watch Bethune comforting the young soldier, who is perhaps eighteen years old, a teen. Bethune: "¿tu nombre." (SUBTITLES: Your name?)
           Soldier, "Soy Juan." He's gritting his teeth from the pain. "Madre mi madre."




           Bethune, touching the young soldier's shoulder tenderly: "Vas a estar bien." (SUBTITLES: You are going to be fine.) Bethune offers the youth, the teen, a cigarette. Lights it for him.
           Ted asks Bethune, "What can I do?"
           Bethune, "How's your Spanish?"
           Ted shrugs, "There wasn't much time."
           Beth, "Crash course now, eh."
           A Spanish doctor is walking passed them. Beth asks, "Por favor. ¿Qué puede hacer mi amigo para ayudar." (SUBTITLES: Please, how can my friend be of help?)
           Spanish Doctor, "Si pudiera hablar español, podria cambiar los orinales." (SUBTITLE: If he could speak Spanish, he could change the bedpans.)
           Beth shrugs. He doesn't understand. To Ted he says, "We'll train you later. For now, just watch." Beth continues, "This child here," indicting the youth he has just been smoking with, "he was in shock. Now he's alert. Blood saves lives."
           Ted goes to a corner where he's out of the way. He sits. He, and we, watch activity in the Field Hospital. He takes out a notebook and writes a short note. He looks up again, observing a long, long time.
           The film dissolves to show the passage of time and fades back in to the field hospital at night, dim and quiet. Early morning. Ted, still in his chair, is waking. The narrator tells us, "I woke at 4 in the morning.            Everything quiet, still, except there's Beth working, setting up another transfusion for an ailing, possibly dying, soldier.
           We watch Beth changing the bottle, and then sitting beside the young soldier, again hand on the shoulder. Then Bethune reaches into his shirt pocket, pulls out a small vial, opens the vial, pours out a small pill into the cap of the vial, offers it to and then pours it into the young soldier's mouth.
           Beth notices Ted awake. and says, "They are children. Just children." He looks at his patient. "I wonder what are his dreams?"
           "What was that you just gave him?" Ted asks.
"Oh," says Beth.



           "There is this French doctor with the Brigade, a Dr. Jacque Benveniste. He gives all his trauma patients, it's called Arnica. And his patients are doing remarkably better than anyone else's. It's called homeopathy. Some sort of magic."
           "I've heard of that," says Ted. "It's not scientific."
           "Ah," says Bethune, "but you've got to remember Bethune's Law of Effective Medical Practice."
           "Which is?" prompts Ted.
           "If it works, use it!"
           "Pragmatism," says Ted.
           "Indeed," says Beth." Empiricism." Then he adds, "And remember, Pasteur's invisible germinators of disease weren't scientific until Koch discovered the Tuberculosis bacillus."
           "Here," says Beth. "I've got a spare vial. You should carry this with you." He hand Ted the vial. "You never know when you'll meet trauma in a war zone, but you can count on it."

Then we watch the still night. Bethune comforting the wounded. And the NARRATOR (V.O) tells us, "Over a period of weeks I learned to assist in the transfusion unit. Oh, and I started writing dispatches for the Federated Press, and I met with the press, other reporters, photographers."

Dissolve to a Montage of a 1930s car driving along a Spanish highway.

NARRATOR (CONT'D V.O.), "I met with the journalist community in Madrid, and with the local censor, Arturo Barea. Met again with Comrade Gallo. We discussed my broadcasting project, and Gallo sent me to Valencia to talk about it to the Republican Government.

Interior of an office the Republican government in Valencia. Ted is talking with Constancia de la Mora, a handsome, middle aged woman. They are talking with enthusiasm, though to being with, we are listening to the Narrators voice.



           Narrator: "Constancia de la Mora was in charge of the government press bureau. An incredible woman. A novelist. We got on famously. We arranged that I'd broadcast once a week, in the middle of the night, 2 in the morning, to the Americas from the government radio station in Madrid."
           We start to listen to their conversation. Constancia is saying, "So you'll go to the Telefonica Building in Madrid and meet with senor Gonzalez, the Station Manager. He'll make all the arrangements for you. You are going back to Madrid tomorrow?"
           Ted: "In the morning."
           Constancia: "Then there is a small favour I would ask. There is a correspondent, for Collier's Magazine, looking for a ride to Madrid."
           Ted makes a face.
           Constancia (continues): "You will not be sorry when you see her."
           Ted: "In that case by all means."
           Constancia: "There is a man, an acquaintance of her's, to travel too."
           Ted: "C'est la guerre."

EXTERIOR: THE ENTRANCE OFTHE HOTEL VICTORIA IN VALENCIA, MORNING. Martha Gellhorn, an attractive young, blond woman in her mid to late twenties, is standing by the entrance. Constancia de la Mora and Ted pull up, and step out of the government car that Ted has been assigned. Constancia waves, and Martha Gellhorn descends the steps to join them. Martha is dressed in casual, but expensive, clothes. Her manner is cultured, refined.
            Constancia introduce Ted to Martha. She explains that Martha is



a journalist and a novelist. "Her novel," Constancia tells Ted, ""The Trouble I've Seen", is excellent. Wonderful." She continues, "Martha has only just arrived in Spain and doesn't know much about the situation here, so I'd be very grateful to you if you would brief her on policy matters."
            Ted: "I'll be glad to."

A taxi pulls up. The driver steps out and opens the rear door. Sidney Franklin emerges. A dignified, though possibly affected, bearing. He settles the fare with the driver, and turns towards the hotel entrance. Constancia waves to him and beckons him. "Sidney, this is Ted Allan, a journalist with the Brigade, and the Senor who will give you a lift to Madrid. Ted, this is Sidney Franklin, the famous "Matador from Brooklyn"."
            "Ole!" says Ted. "Our Jewish toreador." Sidney waves off the comment. Ted continues, "Did you know that over half the volunteers with the Brigade are Jewish?"
            Sidney ignores him. Says, "I'll put my bag in the boot."
            Ted (to Martha), "Well, if I'm going to brief you, Martha, we'd best sit together in the back." He opens the door for her. Walks round to the passenger's side. Opens the front door. "Mr. Franklin, your seat."

Ted and Martha Gellhorn sit in the back seat of the car, with space between them, as they leave Valencia. Ted speaks of Spain's recent history. Lectures. Martha listens, a little smile on her face. "Let's see," Ted begins, "the Second Republic was founded a few years back in 1931, and Spain continues split between a right wing, the National Front and a left wing Popular Front. Very unstable. Lots of tensions, civil strife. Back and



forth. In last February's general election,1936, the Popular Front won. A narrow victory." Ted holds his thumb and index finger close together. The camera pans to the front of the car, the driver intent on the road as they leave the city. Honks at a farmer and his son driving cattle along the road. The camera pans to Franklin, looking suspiciously over his shoulder. We dissolve to a long shot of the car driving through the countryside. We hear Ted, continuing voice over. "Then in the summer, last July, a part, a section of the army, "the four insurgent generals", revolted. Generalissimo Franco invaded with the colonial army from Morocco…"
            FADE TO: Ted and Martha in the back seat. Martha's now closer. Their hips, thighs, touch. Martha places a hand on Ted's knee. Ted continues the "briefing". "So Spain, and the army, are divided in two. The Loyalists, the Republican government, Popular front, hold the industrial heart of the country, and Catalonia and the Basque region. The fascists, the Nationalist, hold much of the country side, most of the food production."

            FADE TO: Martha is cuddled up against. Ted has put his arm around her. "The core of the Nationalist army are the battle hardened African corps, and at first their advance was irresistible. Last November they were at the gates of Madrid. They crossed the Manzanares river, advanced into the University Campus, but there, in hand-to-hand fighting, we held them. Half a mile, a mile, from the center of Madrid."
            We dissolve to a long shot of the car driving through the countryside. Again we hear Ted's voice over. "Then there is the situation with the Non-Intervention Pact, where England and France have the Republic virtually blockaded. Meanwhile Mussolini and Hitler are pouring arms in to the Nationalist, the fascists. There are probably fifty to sixty thousand Italian troops, regular army, fighting with Franco, fighting for the fascist; maybe twenty thousand Germans. The only country trading with the Loyalists, with the government, is Mexico. Oh, and unofficially arms are coming from the Soviet Union."
            We dissolve back into the car. Ted has stopped talking. Martha is snuggled up against him. He leans over to kiss her. The kiss soon becomes quite passionate. And it goes on. And on.
            Sidney Franklin observes, angrily.



And we now listen to the narrator's voice over, telling us what we have just seen, and are watching. "Martha and I felt very comfortable together, hit it off immediately, and soon found ourselves almost sitting in each other laps, giggling and cuddling for warmth. It was a long journey. Martha and I spent nearly the whole trip kissing and necking. Almost making out."
            We watch the car entering the suburbs of Madrid. Republican soldiers walking along the side of the road. And the narration continues: " When we got to Madrid I had to go to the Blood Transfusion Unit: she had to go to the Hotel Florida. I asked, "When will I see you?" She said, "Whenever you want." I said, "In a couple of hours." She said, "Fine." "

The hotel had some pretension of grandiose and elegance, but hardships of recent times shows in aging carpets and wallpaper. TED knocks on a door. "Come in," MARTHA calls (V.O.). Ted enters.
            A well appointed room, though again aging. Martha, young as sunshine, sits on one side of the double bed, pats the other side for Ted to sit. Ted is carrying yellow paper carbon copies of a couple of his short stories. He sits, hands them to Martha. She places them on the bedside table. She sits there. She smiles.
            Ted is hesitant. After several awkward moments he asks, "Have you got the key to the door."
            Martha just sits there smiling and mouths a quiet, "No."

















            "For Christ's sake," says Ted. "I know you have the key. I want to lock the door."
            Martha shakes her head. Continues smiling. They sit. A puzzled look on Ted's face.
            Then there's a knock at the door. It opens, and a large man enters. He looks how you might imagine Hemingway. He has a latch key in his hand. He slides it into a pocket. He looks mildly surprised, and then irritated.
            "Oh, come in, Hon," says Martha. "This is uh, Ted Allan. Ted, this my betrothed, Ernesto."
            Ted looks at Martha. Hemingway glares at Ted. And Martha says,             "I'll see you later, okay Ted?"
            "Okay yeah," says the youth, getting up and leaving.




EXT: MONTAGE TED walking in the streets of Madrid. DAY.

          Decades later I read in Kert's "Hemingway's Women" an           account of Martha's first days in Madrid : "After her arrival
          in Madrid, Ernest tried to take charge of Martha. On her
          very first* night, during a heavy bombardment, she woke
          up and, seeking company, found her door locked from the           outside. She banged and shouted but to no avail. Finally,           when the shelling stopped a hotel employee unlocked the           door. Who had locked it, she wondered. She located
          Ernest in someone's room playing poker. He had locked
          it, he admitted sheepishly, so that no man could bother
* "On her second night in Madrid" Kert wrote. But this is a movie, not a documentary.



       And later I learned that Sidney Franklin, the matador,           was a close friend and associate of Hemingway's. And           he had told Hemingway about Martha and me necking
          in the car.

FADE TO: INT: RESTAURANT ON THE GRAND VIA. DAY Long Shot of an extended table. ARTURO BAREA sits at the head of the table. The city's foreign correspondents are assembling at the table, a handful already sitting, including TED at the far end of the table, and HEMINGWAY and GELLHORN near Barea at the head of the table.
        NARRATOR: "All the correspondents used to eat in a restaurant in the Hotel Gran Via, lunch, not dinner, but lunch. The head censor in Madrid was a man called Arturo Barea. Once a week Barea would meet with the foreign correspondents. He would sometimes refer to various dispatches he thought were special or important and everyone would be very excited."

LONG SHOT of Ted meeting Capa and Gerda.:

Ted notices two new arrivals making their way over towards the journalist's table - an attractive young man and woman. Ted jumps up and hurries over to meet, to greet them. "It is an awing, an honor, it's swell,." Ted splutters. "Your work… I'm speechless."
           Capa smiles.
           Gerda's expression shows that she is perhaps amused, perhaps intrigued. She's interested.
           Ted continues to gush, "Robert Capa! Gerda Taro!" And then, a little more composed, he continues, "I'm Ted Allan. (pause a beat) I'm going to be broadcasting, on the government radio transmitter, to America, and Canada. Starting next week. I'm going to do interviews. Bethune, of course. But the week after… If you will excuse me saying so, you two are probably not only the most famous photographers in Spain. You are probably the most famous photographers on the planet, at the moment. I'd love to interview you."



           "Of course," says Capa. Capa is Hungarian. He speaks with a heavy middle European accent that caresses his words. He is Jewish. He is handsome, a cultured man in his early twenties. A man of action: The original War Photographer.

           Gerda Taro is German, Jewish, again a cultured, handsome person in her mid twenties. She gives a little oblique nod of her head and looks Ted in the eye; an inquiring look, which goes no further at this time as Arturo Barea taps the table with his wine glass, and everybody hurries to take their seats.
           Barea begins: "I'm going to read you one of the most vivid, the most exciting dispatch I have ever read." He adjusts his glasses and the papers in front of him. Even before he starts everyone automatically turns towards Hemingway. Looks of awe. Quite dumbstruck. We are sitting in the presence of history.




                     (reading from the yellow double
                     spaced pages of a dispatch)
          In the night, the planes came. German Heinkels. They           bombed us from midnight till dawn. They came at intervals
          in relays of eight, dropped their bombs, and returned, and           returned. Some comrades with rifles shot skyward, but our           guns were useless. There was no defense. There was           nothing we could do but listen and tremble.

HEMINGWAY'S eyebrows rising in surprise, consternation. He senses that it's Ted Allan's dispatch

                     BAREA (CONT'D)
          I trembled. Terror-bombing is effective. The barracks were           hit, and some recruits were hurt, but miraculously no one           was killed. Albacete itself, though, was bombed to ruin.
          Most of us, the volunteers, went into the city to help with the           rescue. Picks and shovels were placed in our trembling           hands.

TED too is stunned, looking at all this, taking in all the awed eyes on HEMINGWAY, and Papa Hemingway's displeasure, his glances over
at Ted.
                     BAREA (CONT'D)
          All night we dug in the ruins trying to save those entombed
          in their crushed houses. I helped dig out the body of a child:           a boy perhaps four years old, his bloodied head indented.           One arm twisted at a weird angle, shattered bone showing           through, the blood still oozing. I hugged the broken body           close and sobbed.




GERDA observes Ted, Hemingway. She smiles, knowingly.

                     BAREA (CONT'D)
          Newly massacred bodies emit strange and foul odors.           There is nothing noble here. I felt I was in a nightmare, a           dream, far away. The night seemed endless. Morning           brought the relief of no more planes, no more bombs.
          I think we were all in shock. And exhausted. My comrades           and I had worked side by side through the whole night
          barely uttering a word.

BACK TO THE WIDE SHOT: Barea and the foreign correspondents.

                     BAREA (CONT'D)
          We returned to the barracks. One of the walls and part of           the roof had disappeared. The floor we had slept on was           cratered. We were slightly crazed and we giggled at the           sight. Throughout the morning the air-raid sirens moaned,           but the skies were clear, a paled blue sky washed out by           the sun. The ambulances screamed. And we dozed, and           woke, and waited.

As Barea finishes, many of the assembled jump up and gather round Papa Hemingway. There is a buzz. Everyone looking at Papa H. "Oh, fantastic," says one. "Great!" says another. Hemingway is trying to wave off the compliments. "No, no!"
           Ted sits circumspectly. He mumbles under his breath, "Holy shit."
           "I did not write that!" shouts an annoyed Hemingway.
           "No, no!" says Barea. "Ted Allan."
           Slowly the crowd turns, gawks at Ted a moment. Then there are few cursory "very good"s and "well done"s. Then the gathering settles back into its customary meeting mode.

    If you have read this far, first, please email me to say so and I will work on posting a rest asap... and secondly, if you like, you can purhase TAiS:tm at amazon/createspace... and, it is available through the Toronto Public Library (and the UofT!)    
The gathering rising. Some wonder off. Some talk, schmooze. Ted hurries over to Capa and Gerda. He is quite intensely focused on Capa. "I wonder if you've time to take coffee? There is so much I want to ask you."
Capa takes Ted's elbow. "Yes, and let's just move out front to the terrace."
We follow Capa, Taro, Allan out to the front of the hotel. They find a table. Order coffee.
Ted gushes to Capa: "I feel like I've known you the longest time, yet I've never met anyone like you. Except maybe Beth."
Gerda remarks to Ted: "You've fallen in love." Gerda has a soft German accent.
"Oh, I won't chase your Capa round, at least not on to any battle fields. There's enough of that with Beth." Then Ted reflects, "And I had enough of my younger brother, Georgie, pestering me. I will be well behaved." Ted turns to Capa with a eagerness, a hunger: "Look, one of the things I'd like to ask, if its not being rude, is about your name. I've heard people say Capa is a stage name." Capa raises his eyebrows. "Oh," Ted continues, "no critique of your integrity. It's just my "Ted Allan" is a pen name." There is an expectant pause. "It's a long story."
"Tell it," says Capa.
"I was a journalist in Montreal, my home, and the mayor, and the archbishop, even though they are very right wing, they let me know that Arcand, our own local Fuhrer, is being bankrolled out of Berlin. That called for some investigative journalism, I thought, but I couldn't use a Jewish name to join the fascists. I was Alan Herman. So some Ted Allan joined the fascists for a few weeks. I never got to see their secrets, but the name stuck."
"Finding my name wasn't so romantic. I was Andre Friedmann, and… and it was Gerda's idea."
Gerda explains, "People are going to have prejudgment, a prejudice of you. You have to give them a name, a name they can respect, if you want to be successful, to do business with them. In Paris I was Robert's photographic assistant and his student. He wasn't making money. The Parisians did not trust a Mr. Friedmann. And Girta Pohorylle, who is she?"
"And Gerda Taro, who is she?" asks Ted.
"I am," says Gerda preening.
INTERIOR: TED'S ROOM AT THE BLOOD TRANSFUSION UNIT: NIGHT. Ted is typing at the Royal portable typewriter that Beth has given him. We watch over his shoulder, zoom in on what he is writing, and hear the young Ted's Voice Over (V.O.) the clickity clack. "Gerda says I have fallen in love with Capa. I could easily fall in love with her: "Capa's girl". The Spaniards call her la pequeña rubia , the little blonde. She's really more of a redhead. More copper than gold."
Ted pulls the cartage return lever, "dring", and starts typing a new paragraph. "I'm doing my first radio broadcast tomorrow! Interviewing Bethune. What shall I ask him?"

INTERIOR: A RADIO STUDIO IN THE TELEFONICA BUILDING, MADRID. NIGHT. Ted and Bethune with great big earphones in front to great big microphones. Ted asks, "Why are you here?"
"The fascists are monsters," says Bethune. "I was in Almeria when they bombed the refugees from Malaga, women and children who had escaped them. They left the port alone. That might be a legitimate target, but they left that untouched. Attacked the civilian population. They are monsters. They must be stopped."
Bethune continues, "What is the best I can do for the resistance, to smash fascism? I had the thought, "I could bring blood right to the frontline. It can be done. I can do that. Transfusions at the field hospitals. It will save lives. It will raise morale. It could change the game, the camel's back." We must all contribute what we can. We can stop fascism. We will stop the Nazis. But you have to put yourself on the line. "¡No pasarán!". They shall not pass. We can do this! And if you know what can be done, what must be done, you have to set an example."
FADE TO: a wide angle shot of the Grand Via in Madrid. Morning. People on their way to work. The camera pans and dollies along the avenue, passed bombed out lots and damaged buildings. Crew of workmen clearing up the damage of the night. Much is still intact, though.
We approach the front of the Hotel Florida. There is a small terrace with tables. We recognize CAPA and GERDA at one table. We watch TED approach the hotel. Capa sees him and waves. Ted sees his new friends and his face lights up. He goes over to greet them.
"Would you like to join us today?" asks Capa. Ted reaches for, and pulls back a chair to sit. "Ah, yes," says Capa, "for breakfast, but I meant for the day. We've booked a driver to take us to the Jarama. The front has stabilized, but we should still be able to get some useful pictures."
"That would be swell," says Ted, and as he continues Voice Over we DISSOLVE TO: a car driving through the country-side outside Madrid. "I'd like to try and find the lads I came over with. They're with the Lincoln Battalion. I think they're on the Jarama.



DISSOLVE TO: TED, CAPA, GERDA walking across a gently sloping hillside. Halfway down the hill we see a soldier walking carrying his rifle in his right hand. We hear the occasional retort of gunfire.
"I think he is with the POUM ," says Gerda pointing.
"Beth and I think that the Trotskyites are maybe more dangerous than the fascists," says Ted.
Gerda shakes her head. "Good people must stand together."
"Right, right," says Ted. "Solidarity, but…" He too shakes his head.
"Let's get closer," says Capa.
"There may be snipers," Ted cautions.
"If the photo isn't good enough, you weren't close enough," Capa scolds. "We'll be careful," he says, meaninglessly, angling down the gentle incline obliquely towards the soldier.
Gerda has a photographer's bag slung over a shoulder and a Rolliflex, a bulky, box-shaped "reflex" camera, hung round her neck. Capa has smaller, 35 mm, Leica, and film cartridges bulging in all his pockets. As they near the soldier, Capa stops and starts shooting. Almost at once the soldiers staggers,
dropping his rifle. We hear the clack of a sniper's shot. The soldier collapses backward. Ted dives to the ground. Capa and Gerda run, crouched, to the soldier, kneel over him. They look at each other. Shake their heads. Then, still crouching, they move gingerly back up the hillside, beckoning Ted to follow. He rises, crouched, and runs.
"Holy shit!" says Ted.

    The Mackenzie-Papineau Battalion or Mac-Paps were a battalion was formed in May 1937. Before that Canadians served in the Lincoln Battalion.
The Workers' Party of Marxist Unification (Spanish: Partido Obrero de Unificación Marxista, POUM;




Chapter 1:   "from spiralling ecstatically this...            Chapter 6:
Chapter 2:    current work                                              Chapter 7:
Chapter 3:    Dr. Allan's Medicine Show                      Chapter 8
Chapter:4:   Ted Allan in Spain:the graphic novel          Chapter 9:         
Chapter 5:                                                                      Chapter: 10:



intro : i found the most beautiful book I ever saw in a second hand book store in storied Lewis's High Street, 1965,6,7? for S25

Arthur Beardsley's Morte d'Arthur


the most beautiful (that I know of) is Arthur Beardsley's Morte d'Arthur


there's a story: footnote
can i find a page flicky program? who'd know?    

how can i turn this
into a "story board"





an aubrey


another amazing



a figure





of a
as wonderful
as beardsley's
(that's hard)

i bet i've already
said this
so that the
repetition here is

this cell needs work


a picture of

Ted and Martha

on the road

to Madrid

  oh, and do visit : the website  



coming soon
this is a trailer for
the trailer
"Ted Allan in Spain: the movie, a Graphic Novel, first draft"
is an illuminated novella,
written by Norman Allan,
illuminated by Mark Mandel.

we plan to publish in 2015. .  
This is a trailer (for the trailer)....  
of the book ...  

January 1937 : Ted Allan turned 21 and readied to travel to Madrid to report on the Civil War for the Daily Clarion, the Canadian communist newspaper, and to work with his mentor, Norman Bethune - but Fred Rose, the Party Leader, has neglected to tell the Clarion...
To get to Madrid was an imperative.   Ted Allan enlisted in the International Brigade; traveling to Spain with 26 other North American volunteers... The Brigade sends Ted to Madrid to report... on Bethune! We learn that all 26 of Ted's traveling companions were dead within six weeks..



Ted tangled with a bitter, and envious, Ernest Hemingway. (He had been kissing the bride to be.)




Ted meets with Robert Capa, the war photographer, and his companion, Gerda Taro. In the movie, when Ted is troubled about how to handle "the problem with Bethune", Gerda suggests to Ted that he send Bethune to China.* Ted sends Beth back to Canada, and on ?

Capa leaves Gerda in Ted's "care". Of course Ted falls in love. Ted and Gerda visit the front to report on the battle of Brunette..




Will the cub reporter from Canada and the lovely war photographer survive the battle of Bruenette... ?

Coming Soon: the trailer to TAiS:tm

* in the book, ",,,: the movie," we will learn that this is not true is just a fiction of the movie... a Hollywood plot**
** subplot? piece of shtick   I think it is quite cute

* * *


for details of publication in 2015
email here, asking to be notified!