Contratulations,Cuquita PuertPart 46 A Mexican Odyssey Phil Ober and Richard Burton .
by, Bill Reed
Phil Ober's death saddened me deeply, and I consoled myself with memories of the good times that we had spent together. Good times, and sometimes trying times, as when he and I were babysitting Richard Burton for days, trying to keep him sober enough to read a script for an upcoming film. The producer was bringing over a contract to sign after the reading. Richard was driving both of us crazy, and we left him alone for a few hours while we went for lunch. During our absence, one of Richards's many girlfriends yelled to him from the street outside Casa Kimberly, "Oh Dickie, Dickie! Let me in!" He did so, and by the time Phil and I returned, they were both completely snockered.
The reading was a disaster. The producer grinned, handed Burton the contract and said, "If you can't write your name, Richard, just make an "X." I got off easy in that round with Burton; I only dropped in from time to time, at Phil's request, to keep him company, while Phil had to put up with that sort of thing for days on end. He was driving Phil Ober bananas. Richard could do that, but he was also a very funny man when he wanted to be.
I never got to know Elizabeth Taylor Burton. Shortly after I met Richard they were divorced, and he married Susan Hunt. Richard and Susan stepped over often from Casa Kimberly to watch us play poker when it was Phil's host day. Burton didn't play poker, but he often sat near the table and regaled us with stories as we played. On those days I usually lost; it was hard to concentrate on the game and Burton at the same time.
I was embarrassed when Richard and Susan stopped by on one of these visits. There was a new song out by Kenny Rogers about poker. The poker group unanimously insisted that I sing this "ballad" to Richard and Susan. I begged off, but was finally pulled to my feet to perform, sans guitar. The song went something like this: "You got to know when to hold 'em, know when to fold 'em, know when to walk away and know when to run. You never count your money, sittin' at the table, there'll be time enough for countin', when the dealin's done ..." Instead of "count your money," I sang, "count your blessin's," just like I had been trained to do in Youth For Christ meetin's a century earlier.
I also coughed, stuttered, and put on the worst performance of my life. There was dead silence in the room when I finished. Finally Richard said, in his best stentorian-Shakespearean voice: "Billy Joe?"
"Yeah?"
"Methinks it would behoove you, William, to cleave to writing."
He got the applause.
As bad as I was, Richard still came around to our poker sessions occasionally, and day he told us about the time when he was a young actor in London, working with other young actors, mostly penniless, but some from old established aristocracy. One of these actors had inherited from his family an ancient Rolls Royce that barely ran, and also required vigorous cranking to get it started. The young actors rode to work together in the old Rolls because they couldn't afford public transportation, all pitching in for driblets of gasoline.
The car stalled one morning in front of this young aristocrat's equally run-down mansion. Richard was on the crank, since he was the strongest of the group. The car refused to start after repeated crankings, and the young man finally ran into his house, grabbed a chain whip from a rusting knight in the hallway, returned and began beating the car's bonnet, screaming all the while, "Start you swine! Start!" Richard gave it one more crank, and the Rolls obediently started and purred like a kitten.
Richard acted all this out, running back and forth to the mansion, wielding the whip, and cranking away at the Rolls. It was better acting than I've seen him do in some of his films, and one of the funniest things I've ever witnessed.
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