| Foreword | p. x |
| Preface | p. xiii |
| Prologue | p. xix |
| Beginnings: 1891-1920 | p. 1 |
| An Account of the Origins and Early Years of Harry Cohn | p. 4 |
| The Brief Career of Edwards and Ruby: Their Adventures, and a Later Meeting That Bears Significance | p. 9 |
| Jack Cohn Enters the Infant Industry and Learns the Value of Traffic in Souls | p. 15 |
| Enter Harry Cohn, Singing | p. 20 |
| Flicker and a Voice: The Twenties | p. 25 |
| Uncle Carl Laemmle Suffers Three Desertions, and C.B.C. Is Born on Poverty Row | p. 28 |
| The Pilgrim's Progress in the New Land: from the Hall Room Boys to More to Be Pitied Than Scorned | p. 33 |
| A Brief Account of How Harry Cohn Courted a Wife--Not His Own--and of the Salutary Events That Ensued | p. 37 |
| 1926: Year of Decision | p. 39 |
| Two Important Triumphs for Harry Cohn: Columbia Makes the Roxy, and Bella Cohn Pays a Visit to California | p. 44 |
| The Advent of Capra | p. 51 |
| Notes on the Developing Character of Harry Cohn, Studio Boss | p. 58 |
| The Specter of Sound: and a Little Mouse Shall Lead Them | p. 63 |
| The Golden Time: The Thirties | p. 67 |
| Toward Style | p. 70 |
| Joe Brandt Withdraws from the Fray; Also, the Coup d'Etat That Failed | p. 75 |
| Harry Cohn and the Writers: Beginnings of the Long, Productive War | p. 80 |
| The Flowering of Capra and Columbia: It Happened One Night | p. 87 |
| Vicissitudes of a Studio Boss: The Recalcitrant Soprano and the Alcoholic Voyage | p. 92 |
| A Visit to Il Duce, and How It Affected the Cohn Style | p. 100 |
| Dealings with Actors: John Wayne, Robert Young, Barbara Stanwyck, Ralph Bellamy, Lee Tracy, Gloria Swanson | p. 106 |
| Harry Cohn Performs a Confidential Service for the King and Queen of England and Is Rewarded with Royal Raiment | p. 113 |
| Frank Capra Finds, Then Loses His Shangri-La | p. 117 |
| The Irish Invasion, and How It Ended with the Epithet Heard Over the Ocean | p. 122 |
| "Why Not Call It the Good-bye, Rose?" | p. 128 |
| Home Cooking away from Home | p. 132 |
| Sidney Buchman, Who Shall Be Called Indispensable | p. 139 |
| Exit Capra | p. 144 |
| There Were Other Directors besides Frank Capra | p. 149 |
| Boomtown: The Forties | p. 157 |
| Onward and Upward with Columbia Pictures Corporation | p. 160 |
| The Transfiguration of Margarita Carmen Cansino | p. 165 |
| Films of the Early Forties: Angels, Lady Reporters, Chopin, etc | p. 171 |
| Love Finds Harry Cohn | p. 180 |
| "Put Two Hundred to Win and Two Hundred to Show on Number Three in the Sixth Race" | p. 185 |
| Charlie Lombard Discovers the Perils of Friendship with Harry Cohn | p. 194 |
| The King Adds Some Footnotes to The Prince | p. 204 |
| The Interrupted Svengali | p. 214 |
| "Folks, You Ain't Heard Nothin' Yet!" | p. 220 |
| World War II and Harry Cohn | p. 226 |
| The Postwar Boom and Those Who Helped Make It | p. 231 |
| A Chrestomathy of Legends | p. 238 |
| A Public View of the "Fictitious, Fabulous, Topsy-Turvy, Temperamental World" | p. 244 |
| All the King's Men Helps Put Humpty-Dumpty Back Together Again | p. 258 |
| Dealings with Actors: Ronald Colman, Rosalind Russell, Marilyn Monroe, Lucille Ball, Loretta Young, David Niven | p. 262 |
| A Prince for Cinderella | p. 273 |
| Twilight of The Gods: The Fifties | p. 277 |
| "Do Me a Favor, Will Ya, Harry? Drop Dead." | p. 280 |
| The Winds of Change | p. 286 |
| The Other Side of the Cohn | p. 298 |
| "Why Would Harry Cohn Buy a Dirty Book Like From Here to Eternity?" | p. 303 |
| Three Cohn Successors . . . and Then There Was None | p. 311 |
| The Trouble with Love Goddesses | p. 318 |
| Dealings with Actors: Aldo Ray, Donna Reed, Kathryn Grant, Jack Lemmon, Marlene Dietrich, Broderick Crawford | p. 327 |
| A Matter of Life and Death | p. 340 |
| The Last Hurrah | p. 348 |
| "Get Me a Box" | p. 352 |
| Epilogue: Rosebud | p. 359 |
| Index | p. 365 |
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