Hollywood Cavalcade Page #2

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But suppose he don't like the way I look.

That doesn't-That doesn't change

the fact that I've got a contract.

They can't back out now,

not after making me quit my job.

Oh, now, don't you worry.

Don't you worry about a thing.

I just want them to see you

the way I saw you.

I want them to get

the same bang out of you I got...

the same lift, the same feeling.

"Blinded by the snow, the runaway droshky

crashes over the precipice...

and she is hurtled down to"-

Oh, no. Not me. You're not gonna

hurtle me over any precipice.

- Oh, no. No, not me. No, sir. I don't go for-

- Listen.

- No, no. You're not gonna do that to me. No.

- Let me- Listen to this.

This is really great. Now, look.

You're in northern Russia, snowbound.

Your lover has been sent to Siberia.

Now your last chance

of seeing him alive is gone.

The fury of that snow blinds you.

The frozen blasts of that northern wind

bite into your very marrow.

You're hurt. You're suffering.

But sheer desperation

drives you on, on, on.

Now, finally, darkness has fallen.

In the distance you hear

the howling of the wolves.

- [Train Whistle Blows]

- Whoo!

Whoo!

Coming nearer and nearer.

Finally, finally,

you can go no further.

You stumble, then you fall.

You're half-conscious

from fear and pain...

and cold.

Oh, but you're still, still

thinking about your lover.

You're visioning him

being lashed with that knout.

I'll double expose him

up-up in the corner of the screen.

And there you lie,

moaning, calling to him.

"Oh, come to me, my loved one!

Come to me!"

Is everything all right, sir?

Get out! Can't you see I'm dying?

- Yeah-Yes, sir.

- Well, then get out!

Now, your lover is riding off to war.

That's right. Wave to him.

That's it. Dreamy.

Aw, that's fine. Now think of him.

Think he might never, ever,

ever come back to you.

That's it. Fine, fine.

Now look down at his roses.

Smile.

All right. Come on now.

Let it grow- bigger.

Come on. Bigger, bigger, bigger!

That's it. Give, baby, give!

All right.

Fade it out, Pete. Fade it out.

Oh, that's swell. Beautiful.

- You photograph very good, little lady.

- Thank you, Mr. Stout.

Not bad. Not bad at all.

What do you mean, "Not bad"?

Did you get that smile and that personality?

Why, she's terrific!

Maybe you're right.

I'm glad we signed her.

But a hundred dollars

is a whale of a lot of dough.

Oh, of course it is, but she's worth it.

And this new scenario I've written for her

is surefire. They'll love her in it.

- So you're a writer now?

- Oh, no, no. I'm gonna direct

her first picture, chief.

But you're no director. You never

directed a foot of film in your life.

- You're a prop boy. How can you-

- A what? A prop boy?

Don't let him frighten you, honey.

You're right. I was a prop boy.

I was a janitor. When there was

nobody else to do pratfalls, I did them.

I played bits and figured out gags too.

In fact, I did everything in the studio

that called for a little dough...

and no credit and lots of bruises.

All the while, you promised to give me a chance.

I made my chance, and this is it.

Either I handle the megaphone on her first

picture, or I walk her right over to Path.

Why, you're talking like a lunatic.

You can't take her to another studio.

We've got her under contract.

You got my wire, didn't you?

And you wired back to sign her.

Okay, I signed her to myself.

She's mine, and if you don't like it that way,

that's okay by me.

I'll trot her over to Path, and they'll be

tickled to death to get her at twice her salary.

But, Mike, be reasonable.

I might give you a raise and maybe later on

a chance to direct, but-

No, no.

You've made promises to me before.

Either I direct Molly in her first picture,

or we walk right over to Path.

- Don't we, honey?

- Yeah.

Well, all right.

You've got me over a barrel.

But if the first day's work isn't good,

you're out. You understand?

Don't you worry. It'll be good.

- How 'bout me, Mike?

- You're hired!

We go on location Wednesday morning

in Topanga Canyon.

Topanga Canyon?

A rock's a rock, a tree's a tree.

Shoot it in Griffith Park.

[Hammering]

Hi, Roscoe.

I oughta be put in a padded cell

and the keys thrown away.

I've got a good job in New York.

I just got a big break

to act a lead in a New York show.

I'm happy. No troubles.

Nothing to worry about.

Along comes a maniac- makes me

quit my job, leave my friends...

travel 3,000 miles-

and he turns out to be a prop boy.

Wait a minute. That's it!

- What's it?

- Then I swing the camera around

to a jewelry store.

You're standing in front of the jewelry store,

looking at wedding rings.

Then along comes your boyfriend,

a hick from the country.

What happens to those Siberian wolves?

Molly, wait!

Wait a minute, Molly. Wait a minute.

You-You don't understand.

[Man]

You okay? That's it.

Turn that one.

- Could you fix your hair?

- That's fine.

Fix your hair.

Ladies and gentlemen...

- on the left, the Globe Moving Picture Company...

- [Hammering]

Is shooting a Western comedy...

with Chester Conklin and Ben Turpin!

- Places!

- All right. Everybody on the set.

All right, Chester.

All right, Ben.

[Man]

How's that look now?

And on the right, folks...

Mike Connors is directing Molly Adair...

in her first movin'picture,

with Buster Keaton...

as the romantic lover!

Come on, jim.

Heat it up a little bit. Come on.

- That's it.

- You eat now, master?

No, put it down. Put it over there.

- [Man] How's that?

- Hey, Mike.

- That's good.

- Who's that?

- That's my, uh, number one boy.

- Your what?

I hired him last night, 12 bucks a week.

Cooks, takes care of my other suits

and drives my car.

- Your car?

- Sure. I'm gonna make the first payment

on it Saturday.

Then we can drive to work.

Won't have to take that dinky old streetcar.

There are times when you amaze me.

In this business, sweetheart,

not all the acting is done by the actors.

- How 'bout it, Pete? You ready?

- [Pete] All right.

[Mike]

Okay! Places, everybody. Quiet now!

All right, Bob. Buster, go on.

All right. Start crankin' 'em, Pete.

All right. Down on your knees, Buster.

Make love to her.

Be coy, Molly. Be coy.

That's it. All right, Buster. Stand up.

Take her left hand,

point to the fourth finger.

That's right. Now point to the rings

in the jewelry store.

That's it. "For me? '"Molly.

That's it.

All right, Buster.

Now tell her to wait. Go on in.

[Door Closes]

All right, Claude. Come on in.

Come on in. Easy. All right. See her.

That's it. She's beautiful! Beautiful!

Beautiful, Molly.

All right, Molly. Be afraid!

That's it-afraid. Afraid!

Oh, she's beautiful, Claude.

She's beautiful.

Ah, she's beautiful, Claude.

Come on now. Come on in. Come on.

That's it. Be afraid, Molly.

All right. Come on, Claude.

Struggle. Come on. Afraid.

Struggle, Claude! Struggle!

All right, Buster! Come on out.

[Rattling]

All right. See them, Buster.

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