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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