1 To hopeful hundreds there is a golden spot on the map called -- HOLLYWOOD. 2 Colonel Pepper had motored all the way from Georgia to prove that his daughter, Peggy, was a great actress. 3 "It must be Hollywood." 4 "I like this place, Peggy -- even if it ain't Georgia." 5 "That's John Gilbert!" 6 "I'm General Marmaduke Oldfish Pepper, of Georgia." 7 "You ain't gonna blame me for that, are you?" 8 "I'd like to see the president of your company." 9 "What about, General?" 10 "I'm going to let him put my daughter in the movies." 11 "Casting office -- -- Mr. Oldfish." 12 "I want to introduce my daughter, Miss Peggy Pepper." 13 "Have you any photographs?" 14 "Got one a little more recent?" 15 "The idea is, can you act?" 16 "She will now present the various moods. The first will be meditation." 17 "Passion." 18 "Anger." 19 "Sorrow." 20 "Joy." 21 "Very funny. Fill out this card." 22 There is many a slip between the casting office card and a menu card -- -- especially when one's capital has dwindled to forty cents. 23 "I'm Colonel Pepper of Georgia, Miss. At first I thought you were Gloria Swanson." 24 "You big beezark! I gotta notion to knock yer block off!" 25 "What an uncouth saint he is!" 26 Billy Boone -- a custard pie artist from the slapstick "lots". 27 "As a Southern colonel your make-up is very Indiana." 28 "Father, who is this coarse person?" 29 "One has to come to Hollywood to meet such common people." 30 "Aw, baloney -- and you're slicing it too thick!" 31 "Say, are you punks trying to crash into the movies?" 32 "My daughter, suh, is considering a few offers." 33 "My acting is the talk of Savannah." 34 "My acting is the scandal of Hollywood." 35 "Crashing the movies is no cinch -- but I think I can help you." 36 "What'll you have for dessert?" 37 "They've got the swellest cocoanut cake today." 38 "Isn't he wonderful!" 39 The Comet Studio, where serious comedians went through the daily grind of "getting laughs". 40 "Where's the dame you were going to bring out?" 41 "She'll be here, all right -- -- you couldn't keep her away." 42 "Gee, Dad -- won't they be thrilled back home when they see me as a great dramatic actress?" 43 "Stage 4, Lot 5 -- turn to your right as you enter the left wing and keep going." 44 "Are you Mr. Comet?" 45 "If you don't say yes I'll kill myself." 46 "I'm Miss Pepper, the new actress." 47 "Remember, Baby -- you're not painting a bungalow." 48 "You gotta fall harder -- and funnier." 49 "Can she act?" 50 "Go on, Baby -- -- show him what they're talking about in Savannah." 51 "Ah, my brave toreador! In all Spain none is more skillful with the bull." 52 "You have reduced me to beggary, kidnapped my husband, and murdered my aged mother -- but beware! Don't go too far!" 53 "That's darn good hokum." 54 "I shall always give my public the best that's in me." 55 "When I call just come in and show mild surprise, like this -- --" 56 "Remember, the one law of pictures is, don't anticipate!" 57 "Now we'll rehearse it." 58 "Is that all I do?" 59 "Until the jolt. Then just take it natural -- don't anticipate!" 60 "Don't get camera-shy, Baby, and you're a cinch." 61 "I didn't think they made 'em that green!" 62 "Baby, you did that like a real trouper." 63 "I came here to do drama. Why didn't you tell me it was this?" 64 "But, Baby, all the stars have had to take it on the chin -- -- Swanson, Daniels, Lloyd -- -- all of them." 65 "Come on, Baby -- -- you've gone this far -- it'll be easy from now on." 66 "She did that so nifty we'll take it again -- in a close up." 67 "Success in this game means work. Show 'em that you've got the stuff." 68 "Just think of that first big thrill you'll get when you see yourself in a theatre." 69 "I've backed you to win, Baby -- -- show 'em I'm right." 70 "You're great on water stuff -- -- I'm gonna get you in a lot of it." 71 "Go ahead. I'll take it on the chin." 72 The preview -- -- that trying ordeal when a new picture is tried out before Mr. and Mrs. Audience. 73 "Don't anticipate!" 74 "What's the matter, Baby? Don't you know you're a wow?" 75 "That girl's got real person- ality. I'll have Billy Boone bring her over tomorrow." 76 "I can't keep it from you any longer -- -- I'm the director." 77 "Come on. Let's get out front and hear what they have to say." 78 "What do you want to see a punk drama for? Come on." 79 "That's the kind of acting I'm gonna do some day. That's real art!" 80 "Don't be sil. Make 'em laugh and you make 'em happy." 81 "I tell you, Mr. Chaplin -- that girl is a find." 82 "Will you please sign my album?" 83 "I'm crazy about signatures." 84 "Who is that little guy?" 85 "Charlie Chaplin." 86 "That guy is casting director for High Arts Studio." 87 "Bring me a nice big piece of custard pie." 88 "Why, I'd be afraid I'd throw it at someone." 89 The thrill that seldom comes -- a call to the High Arts Studio! 90 "Lew Cody and Elinor Glyn." 91 "She writes a lot of those IT stories." 92 "I like Mr. Cody -- he has such an open face." 93 "Maybe Mr. Morton will only see you -- -- and not me." 94 "I won't sign up unless he takes you, too." 95 "You want Miss Pepper also, don't you?" 96 "I want Miss Pepper only." 97 "I won't sign up unless he takes you, too, Billy." 98 "Oh, that's all right. I can take it on the chin." 99 "Nothing for you now, Billy. Maybe next year." 100 A contract from the "big studio" and the thought of leaving her old friends brought to Peggy mingled emotions of gladness and sadness. 101 "Goodbye, Jim -- I'll always think kindly of you for giving me a chance." 102 "I hate to see you go, Peggy -- but I knew I'd make something of you." 103 "I'm all through, Billy." 104 "You mean you're just beginning." 105 "It's going to be hard -- working without you, Billy." 106 "But we'll see a lot of each other, won't we?" 107 "Yes, but it won't be the same." 108 "It's all in the game, Baby. I guess it's the crossroads -- your path leads one way and mine another." 109 "Then I won't go!" 110 "You're going to be a big success, Baby -- and I'm going to watch every step of your career." 111 At the High Arts Studio preliminary tests were being made for Peggy's first drama. 112 "That's Marion Davies." 113 "Mr. Telfair, I want you to meet Miss Pepper, your new leading lady." 114 "I understand you're quite popular also." 115 "You're at the Countess DeFray's reception. You look over there and see the man you hate --" 116 "Then you look over there and see the man you love." 117 "The man you love." 118 "The man you hate." 119 "It is six months later. You have just received a letter that your lover is dying." 120 "I know there's nothing written on it, but read it anyway." 121 "Your lover is dying -- suffer." 122 "Give me tears." 123 "Tears -- please!" 124 "Would you please ask them to play 'Hearts and Flowers'?" 125 "Louder -- and sadder!" 126 "Tears -- tears -- please, Miss Pepper, if you have any respect for me, give me tears!" 127 "That's no way to let a lover die!" 128 "Imagine your poor old father starving to death." 129 "You don't know my father." 130 "Can't you do something to bring tears?" 131 "Imagine forty thousand starving Armenians --" 132 "Now that we've got her going -- -- no film in the camera!" 133 "Imagine you're very much in love with someone -- -- you're at the crossroads of your lives -- --" 134 "Just one more -- a big yelp!" 135 "That's what I call good commercial crying." 136 "Stop crying!" 137 "Stop it, I say -- -- we've got a big laughing scene to do!" 138 "Everybody go to lunch." 139 "Now that you have gradu- ated from cheap comedy, you must forget it --" 140 "You must acquire a new personality -- -- a superior manner -- new friends --" 141 "I'll be glad to introduce you to the elite of Hollywood --" 142 "Confidentially, I am Andre d'Bergerac, le Comte d'Avignon --" 143 And so plain Peggy Pepper acquired the manner of the "elite" -- and became known as Patricia Pepoire -- 144 "My paper is SO anxious to have a true story of your past...." 145 "When I first came on a movie lot I thought a pie was --" 146 "Miss Pepoire is fatigued. With her permission I will speak for her." 147 "First, allow me to inform you that Miss Pepoire is a direct descendant of General Robert E. Lee." 148 "This is going to make a splendid story." 149 "Being a lady of quality, she chose the cinema as a medium of self-expression." 150 "She has the temperament of Nazimova, the appeal of Garbo, the sweetness of Pickford, and the lure of Pola Negri!" 151 "Hold it! Hold it! Don't move!" 152 "My being in the picture will help get it in the big magazines." 153 While Billy struggled on in the same old way. 154 "Let's have Peggy come over and have chow with us --" 155 "Peggy's too busy these days -- I seldom get a chance to see her." 156 "I'll bet if I ask her she'll come." 157 "Miss Pepoire won't be able to see you tonight. She has important business to 'tend to." 158 "We haven't seen each other for so long -- -- I was wondering if you'd come over and have dinner -- like we used to?" 159 "I'm sorry but I have another engagement." 160 "You're not going out with your leading man, are you?" 161 "It's all part of my work -- won't you please try to understand?" 162 "Sure I understand. I'll see you some other time, eh?" 163 No one realized Patricia Pepoire's importance more than Peggy Pepper. 164 "I'm terribly, terribly sorry if I kept you waiting." 165 "Waiting is such sweet sorrow where you are concerned, dear lady." 166 "Today we're going to do the kidnapping and rescue stuff." 167 "Is it necessary that it be done so roughly?" 168 "-- one thrust of his sword, and he takes you in his arms." 169 "Ten thousand dollars or your life!" 170 Another troupe on "location". 171 "Now we'll take it once more." 172 "Better beat it -- Miss Pepoire's nerves ain't right today." 173 "Miss Pepoire, will you please freshen your make-up?" 174 "-- we're still making 'em, but the old troupe sure misses you." 175 "Baby -- it's a kick to see you doing so good." 176 "Why, Peggy -- surely success hasn't gone to the old bean!" 177 "Of course not! Don't be absurd." 178 "I knew you were only clowning. Same old Peggy -- anything for a laugh." 179 "I wish you would please refrain from using slang." 180 "Oh, for crying out loud!" 181 "Patricia, they are ready for the next scene." 182 "Andre, this is Billy Boone -- I used to know him in the old days." 183 "Why, Andy used to serve me spaghetti down at Tony's." 184 "How can you be so insulting!" 185 "Gee, Baby, I'll bet you miss the laughs we used to have!" 186 "I never miss lowness, cheapness and vulgarity." 187 "-- but I suppose you'll always be the same -- a cheap clown." 188 "Would that I had the right to protect you -- always." 189 "Come on, Billy -- forget the sob squad and jump off that rock." 190 Studio lunch -- at the stars' table. 191 "The boss wants you to come up to his office right away." 192 "I'm having my luncheon." 193 "She's eatin'." 194 "He says you'll have lots of time for lunch after he gets through talkin' to you." 195 "Pardon me, Doug -- just another one of those boring conferences." 196 "Read these -- Miss 'Patricia Pepoire'." 197 "What's it to me if a few theatres don't know art." 198 "Sit down -- Bernhardt!" 199 "Peggy Pepper, when I first signed you, you were human -- regular -- full of ambition --" 200 "You're not on the level with the public that made you -- and from now on I want to see the real Peggy Pepper on the screen." 201 "I'll give you one last chance to change -- and I want your answer now." 202 "If you'll pardon me, Mr. Morton, I shall finish my luncheon." 203 "These producers are so disturbing -- -- to one's equilibrium." 204 "They don't appreciate what a great artist you are." 205 "You are so understanding!" 206 "Just think, Patricia, you'll be a real countess." 207 "It must be wonderful to be in love!" 208 "Sorry, but I can't admit you unless you have an invitation." 209 "I must see her right away." 210 "You tell her I've got to see her -- and I don't mean maybe." 211 "Pardon my depravity -- but that terrible comedian person is downstairs." 212 "You don't realize what you're doing." 213 "I do realize what I'm doing, and I won't have you interfering in my affairs." 214 "You've ruined your career -- just when you were becoming so successful." 215 "-- and now you're going to marry a man you don't care a rap for -- just for a phoney title." 216 "I'm not pleading for myself -- it's for your own happiness." 217 "Think a minute -- remember the old days." 218 "I don't want to remember the old days." 219 "I'm going to bring you to your senses -- now!" 220 "Don't worry .... everything's quite all right." 221 "You were right! I'm all you said I was -- just a clumsy fool!" 222 "Look at yourself! Look at me! We're only fakes -- just clowns!" 223 "He was the only real person -- -- and now I've lost him!" 224 "But, Patricia -- -- our wedding?" 225 "There will be no wedding!" 226 "Don't talk to me!.... Don't touch me!.... You -- you -- pie-face!!!" 227 Peggy's trip "down to earth" had brought a clearer view of things worth while. 228 "Peggy, I hope you were right in recommending this new leading man -- but can he really act?" 229 "He's marvelous Mr. Vidor -- and we work together so well." 230 "Don't tell him I'm in the picture. Just start the scene -- I want to surprise him." 231 "Mr. Vidor, I want to thank you for giving me this chance." 232 "It's up to you, Billy -- and don't let it enlarge your hatband." 233 "You boys have been separated from your outfit .... and make for this village...." 234 "The camera's going -- you can't quit now." 235 "Take them on the chin -- it's all in the game." THE ENDHome