Show People
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 END
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