Ball of Fire: The Tumultuous Life and Comic Art of Lucille Ball

Ball of Fire: The Tumultuous Life and Comic Art of Lucille Ball

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by Stefan Kanfer

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As a movie actress Lucille Ball was, in her own words, “queen of the B-pluses.” But on the small screen she was a superstar–arguably the funniest and most enduring in the history of TV. In this exemplary biography, Stefan Kanfer explores the roots of Lucy’s genius and places it in the context of her conflicted and sometimes bitter personal


As a movie actress Lucille Ball was, in her own words, “queen of the B-pluses.” But on the small screen she was a superstar–arguably the funniest and most enduring in the history of TV. In this exemplary biography, Stefan Kanfer explores the roots of Lucy’s genius and places it in the context of her conflicted and sometimes bitter personal life.

Ball of Fire gives us Lucy in all her contradictions. Here is the beauty who became a master of knock-down slapstick; the control freak whose comic alter ego thrived on chaos, the worshipful TV housewife whose real marriage ended in public disaster. Here, too, is an intimate view of the dawn of television and of the America that embraced it. Charming, informative, touching. and laugh-out-loud funny, this is the book Lucy’s fans have been waiting for.

Editorial Reviews

From the Publisher
“A wonderful and poignant book. . . . [Kanfer] gives a superb picture of how [Lucille Ball] changed television.” –David Thompson, The New Republic

“Elegant, entertaining . . . engaging and immensely readable.” –The Boston Globe

“Oh what a love story. . . . Kanfer does an excellent job of explaining why Lucy and Ricky Ricardo still reign as cultural icons today.” –USA Today

“A delightful. . . . Encyclopedia Lucytania, guiding us through every possible detail of the woman’s history and legacy.” –San Francisco Chronicle

“Sprightly, affectionate . . . lushly detailed. . . . With a sharp sense of pace, and a storyteller’s sense of character and drama [Kanfer] weaves a history not just about one brilliantly talented woman, but also about the remarkable and strangely enduring love affair between Lucy and Desi Arnaz, and especially about the raw and unformed medium of television that the two of them did so much to shape and create.” –Wall Street Journal

“Liberally sprinkled with interesting tidbits. . . . What makes Ball of Fire an unexpected pleasure–and a rarity among Hollywood biographies–is Kanfer’s almost novelistic appreciation of how Ball evolved emotionally through her 77 years. . . . We’re projected back into the star’s personal world, and it’s as human as our own.” –People

“An informative and interpretive biography. . . . The details recounted here are fascinating.” –Chicago Sun-Times

“A crisp writing style, an abundance of anecdotes . . . [and] fresh insights. . . . A sympathetic but clear-eyed [portrait].” –Atlanta Journal Constitution

“Captivating. . . . The final third of the book is pure Hollywood tragedy.” –Los Angeles Magazine

Ball of Fire is a memorable portrait of its subject in all her gifted weirdness.” –Washington Post Book World

“While paying close mind to the details of an astonishing career, Kanfer also illuminates the inner turmoil. . . . [He] gently conveys how great [Lucy] was and how small she could be.” –New York Daily News

Ball of Fire does convey a vivid sense of [Lucy's] fearlessness. Stefan Kanfer has the whole heroic story.” –New York Times Book Review

The New York Times
Although neither [Lucille Ball] nor her biographer can quite account for her comic gift -- it's a mystery, as talent always is -- Ball of Fire does convey a vivid sense of her fearlessness. — Terrence Rafferty
The Washington Post
The story of Lucille Ball's rise from Hollywood's "Queen of the Bs" to empress of TV is well known, but in Ball of Fire, Stefan Kanfer has retold it smartly and colorfully … he is a fine narrator, and Ball of Fire is a memorable portrait of its subject in all her gifted weirdness. — Dennis Drabelle
USA Today
This is one of those rare show-business biographies that fills readers with admiration for what actors, scriptwriters and producers do for a living. Entertainment is hard work, and the cloud of public humiliation is always near. Although there were some occasional missteps, Ball transformed herself from a hick to a low-voltage star to a brilliant comedian. — Deirdre Donahue
David Thomson
This is a wonderful and poignant book about one of life's perfect storms: the collision, the marriage, and the consequent art of Lucille Ball and Desi Arnaz... I'm not sure that anyone will do better at capturing the lasting appeal of I Love Lucy.
The New Republic
The New Yorker
Lucille Ball began her career as a wisecracking extra in Hollywood movies, so it’s no surprise that the best lines in this biography are hers, from the famous quip that Katharine Hepburn “ignored everyone equally” to the dismissal of a suitor with a tart “I’m not the crooked-finger-and-teacup type.” In 1951, when “I Love Lucy” arrived in living rooms across America via the novel technology of television, the red-headed comedienne became a friend to a fifth of the nation, heralding a new, more intimate kind of celebrity. But Kanfer skirts the chance to document the birth of the TV star as American icon, instead touring the familiar terrain of Ball’s troubled marriage. Unlike his subject’s sharp punch lines, Kanfer’s writing is tepid and staid: he gives us the facts of her life but none of the verve.
Publishers Weekly
Early in the run of I Love Lucy, Ball gave co-star Vivian Vance a hard time. Vance decided, "If by any chance this thing actually becomes a hit and goes anywhere, I'm gonna learn to love that bitch." She did, and so did the rest of the world. But according to Kanfer's excellent, compulsively readable biography, Ball (1911-1989) was much easier to love from afar (as was Kanfer's previous subject, Groucho Marx). Despite all the laughter the gifted red-headed comedienne produced, her personal life was unhappy. To save their marriage, she and Desi Arnaz produced and starred in I Love Lucy. It revolutionized TV (it was shot on film with three cameras in front of a live audience), but the all-consuming pressure of the show (and other shows produced by their company, Desilu) pushed them apart and made them absentee parents. Although Ball reigned on four consecutive top-rated CBS comedies from 1951 to 1974, Kanfer sees a decline in the quality of her work beginning in the early '60s. Without Arnaz to dominate her and placate others after they divorced, Ball became all-controlling on her shows, and her temper and tactlessness began costing her professional and personal relationships. "She could be very cold," admits daughter Lucie Arnaz, "and although she told me she loved me all the time, I didn't feel loved." Kanfer's sad, well-written and -researched bio benefits from a wealth of previously published accounts (best are Kathleen Brady's Lucille and Geoffrey Mark Fidelman's The Lucy Book), but her story is still a compelling one. Photos not seen by PW. (Aug. 15) Copyright 2003 Reed Business Information.
Library Journal
Although 14 years have passed since Lucille Ball's death-and 52 since the debut of I Love Lucy-the public's fascination with the redheaded star and her show has not waned. Kanfer (Groucho: The Life and Times of Julius Henry Marks) acknowledges Ball's autobiography, Love, Lucy; the many previous biographies; various web sites; and her ever-available films and TV shows. Yet he asserts that her full story has never been told, and he's right. A fine accumulation of research (including a 21-page bibliography) balanced by Kanfer's insight into what Ball's contribution means in the context of entertainment history, this is the first study to examine all aspects of Ball's life, work, and business acumen. The author reveals that, as the first woman with major economic power in postwar Hollywood (she eventually headed the production company she started with Desi Arnaz), Ball was a reluctant feminist icon. In fact, Kanfer leaves us with the impression that what this complex woman really wanted was a happy marriage and family, which eluded her. This important book is highly recommended. [Previewed in Prepub Alert, LJ 4/1/03.]-Rosellen Brewer, Monterey Cty. Free Libs., Salinas, CA Copyright 2003 Reed Business Information.
Kirkus Reviews
Canny critic and cultural historian Kanfer (Serious Business, 1998, etc.) brings a bemused attitude and a keen knowledge of show business to a tale that’s becoming as familiar as an I Love Lucy rerun. Back again we go to Lucille Ball’s early days in Jamestown, New York, followed by her youthful sorties to Manhattan and work as a model. An agent’s tip sent her to Hollywood, where she toiled first as a featured extra in musicals, then as the lead in some B-plus films, none of them bringing the kind of stardom reached by rival RKO contract player Ginger Rogers. It took a tiny, black-and-white TV screen and the role of housewife Lucy Ricardo to bring Ball success and, eventually, a place alongside Chaplin and Keaton as a comic icon. On the set, the woman behind the sweet, goofy image was a hellion. She tore off Vivian Vance’s eyelashes, kicked husband Desi in the groin (several times), and gave Richard Burton line readings, prompting Mrs. Burton to label Miss Ball "Miss C**t." Off the set, Desi retaliated with compulsive gambling, constant boozing, and serial adultery, often with prostitutes. His professional judgment, however, remained shrewd and unerring. Long after he and Ball divorced, he advised her not to star in the film version of the stage hit Mame. She ignored the insight and took the part, stumbling into the sad last act of her career with a damaging flop. A second, comfortable marriage to comic Gary Morton, some quality time with her children, and the usual round of testimonial affairs brought a measure of happiness to the end of a turbulent, perhaps even an unsatisfying life. Entertaining and thoughtful observations bring The Redhead into sharp focus.

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Knopf Doubleday Publishing Group
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Read an Excerpt

Chapter One

A little world out of nothing

Few intimations of Lucille Ball's character and career can be found on her family tree. Hers is a classic instance of the comic talent that surfaces without genetic antecedent. There have been, of course, many such "sports" in show business, performers who sprang from generations of laborers or small-time entrepreneurs. But most often these comedians and clowns were first-generation Americans, breaking out from the poverty, illiteracy, and prejudice that still afflicted their parents. Moreover, the great majority of them came from the streets of New York City, where demonic energy was the only résumé they needed, and where opportunity lay all around them-from larceny and murder to medicine, law, and entertainment.

Lucille had little in common with the generation that was to beget laughter in vaudeville, in the legitimate theater, and on the sound stages of the 1930s. Compared to them she is a bloodline aristocrat. "My mother, Desirée Hunt," her account proudly states, "was of French-English descent, with a touch of Irish from her father's side that showed in her porcelain-fine English complexion and auburn hair." Lucille's father, Henry Durrell Ball, was descended from landed gentry in England; some of the family came to the New World as early as the seventeenth century. She was delighted to note that there was "some Ball blood in George Washington" since "his mother's maiden name was Mary Ball." If there were any deeper investigations of the Ball genealogy, Lucille did not record them. Actually, George Washington's relationship with his mother was one that grew increasingly unpleasant and embarrassing. Hardly had George left home when Mary began to complain publicly about her son's neglect. Rather than take pride in his early career, she used it as a lever to pry favors from him. During the French and Indian War, for example, he suffered terrible privations in the service of King George III. Mary displayed little interest in his ordeal; her letters demanded more butter and a new house servant. Irritation between parent and child remained until her death in 1789.

Evidently a number of Mary's descendants were working folk and farmers, scattered about the United States, with little in the way of wealth or prospects. For one of them, fate intervened in 1865, when oil was discovered in the appropriately named town of Pithole, Pennsylvania. Clinton Ball, Lucy's great-grandfather, had property in the vicinity, accepted the enormous bid of $750,000, and headed for the progressive, gaslit village of Fredonia, New York. There he built a large house and acquired an additional four hundred acres. Clinton must have found Protestant fundamentalism to his liking; he donated generous sums to local churches, but made certain that anyone who preached there hewed to his literal interpretation of the Bible. Unsurprisingly, he looked upon city life as licentious and went so far as to forbid any of his six children to dance.

Five of them obeyed; the sixth was an adventurer who wanted something more than received wisdom. Jasper Ball-"Jap," as he preferred to be called-married young and became a father soon afterward. He settled the family in Jamestown, New York, and began to invest his savings in the newfangled telephone business. When the hinterlands proved inhospitable to the invention he sought employment out west. The Securities Home Telephone Company of Missoula, Montana, hired him as manager, and for many years he shuttled between work and family, from the towns and villages of Montana to his home in upstate New York. In time Jap's admiring son Henry Durrell Ball ("Had" to family and friends) came to Missoula and signed on as a lineman for the phone company. In 1910 Had returned to Jamestown to visit his mother and sisters, and while he was there someone introduced him to the eighteen-year-old Desirée Evelyn Hunt, the daughter of a professional midwife and a man who had worked at a number of trades, including hotel management, mail delivery, and furniture construction. (She chose the Frenchified spelling; "Desire" was the name on her birth certificate.) The twenty-four-year-old Had qualified as an attractive older man. Several months later, on September 1, 1910, the two were married at the two-story gabled home of Frederick and Flora Belle Hunt. Some 140 guests witnessed the ceremony, conducted by the Reverend Charles D. Reed, pastor of the Calgary Baptist Church. It was the biggest social event of the season. Contemporary photographs show a pale, conventionally pretty young woman, and a husband so lean he appears to be two profiles in search of a face.

Laden with gifts of silver, linen, and furniture, the couple boarded a train and headed toward the sunset. They settled in the little town of Anaconda, Montana, about twenty-five miles from Butte. A couple of months later Desirée became pregnant. She expressed a desire to have the baby back home in Jamestown, where her mother could act as midwife. Had consented, and the couple went east in the summer of 1911. On August 6, Lucille Desirée was born.

Once Flora had pronounced her granddaughter fit for travel, the Balls returned to Montana-only to turn around and head back east. Securities Home Telephone had recently acquired the Michigan Telephone Company, and the company needed experienced linemen. The little family resettled in Wyandotte, outside Detroit, a town just far enough from the automobile industry to offer quiet tree-lined streets and clean air. Had regarded it as a fine place to raise a family, and pretty soon Desirée was pregnant again. Everything went well: Had was making five dollars a week, a good salary in those days, and the doctor said that Desirée was the ideal age and weight to bear a second child. As for little Lucille, she was an active, healthy youngster, fond of her mother and crazy about roughhousing with her father-she would scream with delight when he tossed her into the air and caught her inches from the floor.

All this was to change in the awful winter of 1915. In January, cases of typhoid fever were reported in the Detroit area. Public health officials warned citizens to boil their water and to stay away from unpasteurized dairy products. Desirée scrupulously followed their instructions. Had went along for a while, but in early January he treated himself to a dish of ice cream. A week later he began to suffer from sleeplessness, then intestinal problems, and finally he developed a fever of 104 degrees accompanied by delirium. Physicians made a grim diagnosis and nailed a sign to the Balls' front door: keep out-health authorities. Neighbors shut their windows and drew the curtains; there was no vaccine at the time. The family doctor could do little beyond making Had comfortable and preparing Desirée for the end.

Distraught and overburdened, she kept Lucille out of the sickroom and in the fresh air for hours at a time. To ease her mind she tied one end of a rope around the child's waist, the other end to a steel runner on the backyard clothesline. As long as she heard the metal squeal, Desirée knew that her little daughter was running like a trolley from the back of the yard to the front. Whenever the noise stopped for longer than a few minutes she ran outside to see if Lucille had slipped the knot. The three-and-a-half-year-old never did escape, but on at least one occasion she tried. After an ominous silence Desirée found her batting her eyes and negotiating with a milkman: "Mister, help me. I got caught up in this silly clothesline. Can you help me out?"

Had died on February 28, 1915. He was twenty-eight years old. Lucille retained only fleeting memories of that day, all of them traumatic. A picture fell from the wall; a bird flew in the window and became trapped inside the house. From that time forward she suffered from a bird phobia. Even as an adult, she refused to stay in any hotel room that displayed framed pictures of birds or had wallpaper with an avian theme.

Had's widow was twenty-two. She was five months pregnant, with a dependent child, little insurance, and no professional skills. Somehow she summoned the strength to make funeral arrangements in two cities: Wyandotte, where her late husband was embalmed, and Jamestown, where he was to be interred. In order to get a little peace, Desirée enlisted the aid of a sympathetic grocer. Six decades later, Lucille gratefully summoned up images of Mr. Flower: "He let me prance up and down his counter, reciting little pieces my parents had taught me. My favorite was apparently a frog routine where I hopped up and down harrumphing. Then I'd gleefully accept the pennies or candy Mr. Flower's customers would give me-my first professional appearance!" Those gifts came from customers who would rather donate money than pay condolence calls to a quarantined house.

Several days later Desirée and Lucille accompanied Had's body on the long train ride to upstate New York. On the chill, iron-gray morning of March 5, Had was buried at Lake View Cemetery in Jamestown. Lucille looked on blankly, oblivious to the glances in her direction. At the last moment, as Had's casket was lowered into the grave, the loss suddenly hit home. The little girl was led away screaming to her grandparents' house on Buffalo Street in Jamestown. Mother and child had no other refuge.

So an autonomous nuclear family backslid to total dependence, as Desirée returned to the adolescence she had fled, reliant on her parents for food and shelter. Still, Fred and Flora Belle Hunt were kind and undemanding folks; they did everything possible to make their daughter and granddaughter feel wanted and comfortable. The Hunts had lost their own son, Harold, at the age of eighteen, and when Desirée presented them with a grandson on July 17, 1915, they were deeply gratified. When she announced that she would christen him Frederick, after Grandpa Hunt, they were beside themselves. To all appearances, Lucille was once again in an affectionate and secure household.

But she was not satisfied with appearances. "I was largely ignored," she remembered, "and I became very jealous." Lucille had been struck two terrible and inexplicable blows. As she interpreted them, a beloved father had abandoned her without so much as a good-bye. Five months later she had been displaced by a wailing rival who absorbed 100 percent of her mother's love and attention. Confused, anxious about her own mortality, the child became fixated on her grandparents, a pair whose idiosyncrasies she came to cherish. Fred Hunt was an imposing figure, overweight and garrulous, with a wardrobe of three-piece suits that had seen better days. He stoked his omnipresent pipe with Prince Albert tobacco, played popular tunes on the parlor piano, whittled toys for his grandchildren, and palavered incessantly about the sorry condition of the Working Man in America. Hunt's favorite philosopher was Eugene V. Debs, and he was forever booming the virtues of that fighter against economic injustice-a man "baptised in Socialism."

As for Flora Belle, she had been a hotel maid in her youth and she retained both a winsome air and a vivid physical presence; Lucille was to remember her Grandma Flora as "a real pioneer woman." Together, the Hunts encouraged Lucille to learn the piano and to take pleasure in the familiar. These included free visits to the local amusement center. A five-cent streetcar ride brought her to Celoron Park, and admission was free. There Lucille Ball became an upstate Dorothy Gale, "dazzled by the brilliance of the Wonderful City," with Celoron as her Oz. Four-decker picnic boats floated along the twenty miles of Lake Chautauqua; stands offered pink cotton candy on a stick; strollers could gawk at a bearded lady, a strong man, a snake charmer, a fortune- teller. As the wide-eyed children shrieked and giggled, the Phoenix Wheel took them a hundred feet in the air before descending to street level. A ramp let them slide deleriously into the shallows of the lake. John Philip Sousa's men blared away on the bandstand. And a zoological garden allowed glimpses of exotic tigers, as well as the chance to ride Shetland ponies around a little track. Best of all were the nickelodeons, with their joyous two-reelers of Charlie Chaplin and the cliff-hanging serials of Pearl White.

It was as if Lucille had been granted compensation for all the losses of the last year-and a new kind of freedom was still to come. Desirée, brought low by Had's early death, suffered from postpartum depression. Nothing seemed to lighten her burden, and after a few months Fred and Flora Belle determined that the only cure would be a complete change of scene. They bought their daughter a round-trip railroad ticket to California and took over the raising of the children. Two active youngsters were one too many for the aging couple; they entrusted Lucille to her mother's sister, Lola, then operating James-town's busiest beauty salon. The move turned out to be one of the happiest periods in Lucille's life. Aunt Lola had just married a Greek immigrant, George Mandicos, and the couple had eyes only for each other. Their charge came and went as she pleased, making faces in the wide glittering mirrors, nourishing a harmless crush on her uncle George, getting pats and compliments from her aunt's customers. Looking back on those halcyon days, Lucille recalled: "Once again I was an only child, with a mother and a father, and it was such a happy, relaxed time for me."

She was never again to enjoy that status. Desirée came back restored and balanced. Of all the things she had seen out west, only one incident remained in her now placid mind. She had been riding on the same train as Douglas Fairbanks, and as it drew into Los Angeles the actor jumped from the train, vaulted a low barrier, and leaped into the arms of his wife, Mary Pickford, waiting for him in a baby-blue convertible. It was like a dream, Desirée told her parents; she never expected to see movie stars up close again.

When World War I began, Desirée found work in a local assembly plant. There she caught the attention of the strapping, thirty-one-year-old Ed Peterson, a foreman in the sheet metal department. Ed's large features were a mixture of the ungainly and the attractive, and he seemed surprisingly intelligent and well read. Not many eligible men lived in Jamestown; Desirée overlooked the foreman's reputation for drinking to excess. Their courtship was brief; the pair announced wedding plans in the summer, and got married on September 17, 1918.

Lucille fancied that Ed would simply slide into her father's place and make the family whole again. Her dreams were dashed when she sidled over to the groom on his wedding day.

Taking his hand tightly, the seven-year-old inquired in her most flirtatious tone, "Are you our new daddy?"

Peterson frowned down and pulled loose from her grip. "Call me Ed," he instructed.

Lucille and little Freddy scarcely got to know Ed Peterson before he and Desirée took off for Detroit in search of well-paying jobs. Once again Lucille was farmed out. Ed thought it best if the outspoken little girl got some lessons in deportment, so this time she was sent to the home of his parents. There could have been no greater contrast than the indulgent Mandicoses and the severe and elderly Petersons.

Meet the Author

Stefan Kanfer’s books include The Eighth Sin, A Summer World, The Last Empire, Serious Business, and Groucho. He was a writer and editor at Time for more than twenty years. A Literary Lion of the New York Public Library and recipient of numerous writing awards, Kanfer is currently in the Distinguished Writer program at Southampton College, Long Island University. He lives in New York and Cape Cod.

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Ball of Fire 2.8 out of 5 based on 0 ratings. 13 reviews.
Guest More than 1 year ago
For all of it's impressive bibliography, this one misses the Ball...there are many factual errors, and they're things that almost any reader with some knowledge of Lucy's life & career will notice right away. For example, Lucy did NOT 'argue' with William Holden in the famous Brown Derby scene...her character's name on 'The Lucy Show' was Carmichael, NOT McGillicuddy...there are more, lots of them, & they create a nagging sense of irritation that grows as the errors multiply. Also, there is a warmth that's evident in many of the books about Lucy; it's missing here, replaced with a hard-edged chilliness...'Ball of Fire' is a misfire.
Anonymous More than 1 year ago
The book would be interesting if there wasn't so MANY details that most people have no inteest in. It goes into the smallest details, not just briefly, but many of them really boring. I'm having a hard time getting through all the uninteresting part to more important details.
blipes More than 1 year ago
Worst book ever, wasted $16. I am a big, big, big fan of Lucy and after just reading the first page of the preface I was done!
Guest More than 1 year ago
I was very excited to start reading this book. Unfortunately it did not stay very exciting while I was reading Ball of Fire. Although the book mentions everything including: her years starting out in modeling and show business in New York, moving to Los Angeles, meeting Desi, starting the show that became so famous, Desilu studios, the breakup with Desi, and her later years, he did not make it nearly as happy or exciting as it should have been. I had read a few other Lucille Ball books in the past, and this book just mentioned the same stories that everyone has already heard. I did not get any new incite on her life and passions. A lot of the information that Kanfer had mentioned was incorrect according to other much more reliable books and research I have done on Lucille Ball. I would not recommend this book to you if you have any knowledge of Lucille Ball at all. Kanfer does not give her enough credit for all of the great achievements to this world she has made. Instead he tries to put a negative spin on her life. Lucille Ball is the most beloved comedic actress of all times, and not nearly enough light was shown on that.
Guest More than 1 year ago
Like millions of others I have been a fan of Lucille Ball since childhood and I have read every book ever written of her as well as her autobiography. 'Ball of Fire' is a book that attempts to tell a story, a story that has been told a thousand times before but Kafner does not give us new insight on this very gifted womans life. On the contrary many of his 'facts' are wrong and there is a certain coldness toward Lucy. My personal opinion of course.
Guest More than 1 year ago
I have to disagree with the reviewers below - while they are corrrect to point out a 'chilliness' (which I think is better viewed as biographical integrity rather than hagiography), they fail to see what Kanfer points out over and over again - that there was much chilliness in Lucy. Until her death, she was always 'show biz first', she put her kids in a distant place in her life, and was a tough boss and actress. Was she talented? Beyond measure. She was the greatest female comedic actress of teh 20th century. So what if her personality had warts?
Anonymous More than 1 year ago
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Anonymous More than 1 year ago
So great!
Anonymous More than 1 year ago
But ricky
Anonymous More than 1 year ago
Here is my exclusive interview. Me: is it true that you murdered all of those kits, DaggerClaw? DaggerClaw: Oh, who is spreading rumors about me? *she laughed* That is horrid. Me: Are you a spy or an assasin? DaggerClaw: (she never answered back) i think that is proof that DaggerClaw is an assassin and spy. She most certainly killed those poor kits also. If you see her please kill her. She is a dangerous person. Rid the world of evil.