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20
STUDIO SECTION OF
November 5, 1927
“ The
Rejuvenation
of
Aunt Mary”
“ The
Rush Hour ”
“The Girl in the Pullman”
HARRISON
FORD
IN
DeMILLE
PICTURES
Michael Curtiz
director
JUST COMPLETED—
“Good Time Charley,” with Helene Costello, Warner Oland, Clyde Cook
PREPARING—
“Tenderloin,” Starring Dolores Costello
LOU SEILER
Director of
TOM MIX
in
“Outlaws of Red River” “Great K&A Train Robbery” “No Man’s Gold”
“Tumbling River”
“Wolf Fangs”
Starring “Thunder”
Fox Release
Smiling Through
“ •* ~mmmBy Rufus McCosh — ~
TV/fY wife, Patsy Brunner that was, has been gettin’ on my nerves lately. She is a good wife, none better, and I love her. I know that, but there’s times when I just can’t like her.
A publicity and exploitation agent in Hollywood has certain obligations and owes something to his clients.
I gotta be thinkin’ up things for my clients to have done, not excuses for things I’m supposed to have done, whether I’ve done them or not. And not to have any excuse at all, don’t help. I tried that once! Also I tells her that these actresses is our bread and butter, and she says she’s had all the bread and butter she wants. What she wants is a plank steak at the Montmarte, or Henry’s or some place she suspects but don’t know.
* * *
So one day when she gets an offer from a San Francisco stock company I tells her it’ll be impossible for me to go with her, as my work compels me to be on the job every minute.
“How about the week you spent in jail, you and that hussy, for speedin’?” she asks, “and that time you flew to Catalina, and don’t get back for two days?”
Anyhow she goes to Frisco, and I don’t go home for a week!
Then one morning I wakes up in a hotel in San Diego. Tom Handy, the director, is with me, and as soon as I wakes up I know I ain’t happy. Then I remember why. I looks at myself in the glass. It ain’t so good. That Tia Juana stuff is worse than any Hollywood bootlegger would dare sell.
I goes over and wakes up Tom and he looks at me.
“Cheer up,” he says, “Has Jack Sullivan called up yet?”
“What’s that got to do with it?” I asks.
“Don’t you remember him?” asks Tom.
“Sure,” I says, “who is he?”
“He’s gonna be our meal ticket,” says Tom. “I thought you was mixin’ ’em too much, last night.”
“All right, all right,” I says, “who is he?”
“He’s the guy that brought us from Tia Juana in his car last night, and who is gonna pay our bill here and drive us to Hollywood, in returns for you introducing him to Jesse Lasky, Joe Schenck and Louie Mayer, and a few others, like you promised. He don’t know about the hotel bill, yet, but he will. You was sure going good last night, Benny,” Tom says.
^
“What’s the big idea?” I asks.
“I told you to lay off them fancy mixtures,” says Tom. “The idea is that this bird is gonna start a race track and he wants to interest some of our prominent Hollywood people, which you tell him is your little playmates. I’m waiting to see you make good, Benny,” he says, “that’s where the big laugh is gonna be for me.”
“Aw, shut up,” I says, “maybe he don’t remember, either. Anyhow, auto races is passe. Airplanes is the thing now.”
“Dogs, Benny, dogs,” says Tom, “whippets— greyhounds — ”
“Oh,” I says, “what for?”
“Don’t you ever read the papers, Benny? Dog racin’ is the latest thing. Jack says that they’s a dozen tracks in Chicago, all payin’ good money, and